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283284 Los(e)/Seite
Los 893
A pair of Italian Maiolica rectangular plaques or tiles, probably 19th century, painted with a portrait of a man and a woman in regional costume, inscribed on an old label to the reverse 'Genori 1790', 21.5 X 15.5cm.Provenance:Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.
Los 431
Mandy Sand (Israeli 1932 - 2004)Head and shoulders portrait of a young womanoilsCondition report: Generally, the paint layer is stable, there are no visible signs of flaking or damage to the canvas. Minor surface dirt and discolouration commensurate with age. Dimensions 26.5 x 23cm and the frame is 51 x 48 cm
Los 496
Michael Stennett (British 1946-2020), composition with central portrait, collage and oil on paper, 45 x 37cm; together with an assortment of studies and prints, various sizes and mediums; and a quantity of colour studies on paper, gouache on paper, various sizes Provenance: The studio of Michael Stennett
Los 549
Pat Cooke (British 1935-2000), The Market Stall, signed and dated 'Patricia Gerard Cooke / 1959' (lower right), mixed media, 16.5 x 22cm; and Francis Dodd, Portrait of Arthur Lionel Smith, signed in pencil in the margin 'Francis Dodd' (lower right) and inscribed in the plate 'A.L.S' (top left), 'Dodd / 1915' (top right), drypoint etching, 29 x 21cm (2)
Los 596
Ernest Gustav Girardot (1840-1904)Portrait of a young boy on horsebackoil on canvas 90 x 67cmProvenance: Landwade Hall, Exning, SuffolkCondition report: Generally, the paint layer is stable and there are no visible signs of serious flaking or damage to the canvas. There is however a thick layer of surface dirt across the entire painted surface and areas of stains and patches of mould. There are some obvious signs of chips and scratches which have resulted in paint loss - especially in the upper lower right quadrant. Under UV light there appears to be areas of minor retouching.
Los 313
Bilston Enamel Boxes. A George III period enamel patch box made to commemorate John Paul Jones, who was the United States' first well-known naval commander in the American Revolutionary War, the oval box with a portrait of Paul Jones in military uniform and titled 'Paul Jones' with blue enamel base, there is black monogram to the inner lid, minor damage, 48mm long, together with three further enamel boxes all of the same period comprising 'The Happy Union of England & Prussia', Cheltenham Wells and a courting couple, all damaged Qty: (6)Footnote: John Paul Jones (1747-1792) was a Scottish-American naval captain who was the United States' first well-known naval commander in the Amerian Revolutionary War. Jones is sometimes referred to as the "Father of the American Navy".
Los 385
Mixed Jewellery. A Victorian yellow metal mourning brooch, the oval brooch with a portrait to the front bordered by blue enamel, the opposite side engraved 'In Memory of A.T. obit 6th Feby 1878' incorporating a photograph of a man, 35 x 30mm, together with a mixed collection of items including a Victorian locket pendant probably rock crystal and gilt metal, Edwardian gold plated sovereign case, agate pendant, yellow metal mesh purse and other itemsQty: (small box)
Los 567
Fan. A George III folding fan, circa 1760, the recto with an oval printed portrait of King George III applied to pink paper printed with a repeating geometric design and silver sequins, foliate carved bone sticks, guardsticks with pierced design of a dog looking at a bird perched in a tree, repaired and some damage including one stick missing, 24.5cm (9.75ins)Qty: (1)Footnote: A rare fan possibly made for the Coronation of King George III.
Los 571
Handkerchief. A flapper girl handkerchief, plus garter, 1920s, & other handkerchiefs, picot-edged cream silk handkerchief, one corner with hand-painted head & shoulders portrait of a young girl wearing a green dress and matching wide-brimmed hat, highlighted in gold, 23.5 x 23.5cm (9.25 x 9.25ins), together with a pale pink satin garter embellished with a white fur-edged flapper girl button, lower edge of button with slight discolouration, diameter of garter 38cm (15ins), plus 19 other handkerchiefs various, including printed, lace, embroidered, some hand-worked, including a 1930s handkerchief depicting young people engaged in outdoor pursuits, with 'Health and Beauty' caption around edge, various sizes, mostly in good conditionQty: (21)
Los 41
A LARGE MID VICTORIAN SEED PEARL AND ENAMEL MEMORIAL LOCKET the black enamelled locket with seed pearl decoration to one side and two compartments inside containing a portrait photo to the left and hair coils to the right, locket length excluding the bale 4.5cm, width at widest point 3.5cm, gross weight 40grams Condition Report : good for age, with minor wear to the enamel (bottom of one side, underside, minor), one seed pearl missing, opens and closes easily, the enamel on white metal untested) Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 18
A GEORGIAN PORTRAIT MINIATURE RING The glass fronted miniature featuring a portrait of a young female, set in a mount of seed pearls, the rose coloured metal ring inscribed with a commemorative inscription dated 1794, the portrait miniature measuring approx. 2cm x 1.8cm, ring size P, weight 5.3g. Condition Report : Good for age, surface only testing of the rose coloured metal indicates gold or gold plate. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 312
A 19TH CENTURY GILT GESSO FRAMED PORTRAIT of a military gentleman, 101cm x 65cm overall Condition Report : some losses to gesso - refer to images Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 332
ASSORTED PHOTOGRAPHS & PORTRAIT MINIATURES comprising an ambrotype of a soldier in uniform, possibly a dragoon, 10.5cm x 8cm (oval), in a hinged leather case; a silhouette portrait miniature of a gentleman, heightened with gold, profile to the left, 7cm x 5.75cm (oval), framed and glazed; and five others, (7).
Los 15
Sandile Zulu (South African, born 1962)Labyrinth of Genes and Elements I, 2004 fire, water, air, earth, canvas and stones on canvas108 x 378cm (42 1/2 x 148 13/16in)in 56 individual 27 x 27cm (10 5/8 x 10 5/8in) canvases.Footnotes:ProvenanceA private collection, UK.LiteratureC. Richards, Sandile Zulu: Portrait of the artist as a young firebrand (Johannesburg, 2005), p. 72 (illustrated).Born in the town of Ixopo, in the Nwazulu-Natal region of South Africa, Sandile Zulu began his study at Rorke's Drift Art and Craft Centre in 1982. Shortly after, he became one of the few black students to enrol at Technikon Natal in nearby Durban to study Fine Art, and by 1993 he received his degree from the University of Witwatersrand in Johannesburg.It was during his time at Wits University that Zulu first began his experimentations with fire as a medium. Fire would later become the title of his first solo show in 1995 at the Rembrandt van Rijn Gallery in Johannesburg. Zulu's first UK solo show took place at the October Gallery in London in 2005. Entitled Fire This Time: Planetary Cycle, it showcased Zulu's monumental fire paintings. Labyrinth of Genes and Elements 1 is a work composed of fifty-six canvases. The repeated squares represent the building blocks of genetic codes. Each canvas has been burned with patterns of coiled DNA strands. The calm order of the grid structure opposes the violence of Zulu's creative method, communicating the artist's belief in an underlying universal harmony. BibliographyC. Richards, Sandile Zulu: Portrait of the artist as a young firebrand (Johannesburg, 2005), pp. 61-2.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 27
Gerard Sekoto (South African, 1913-1993)Portrait of a youth signed 'G Sekoto' (twice, lower right)oil on canvas61 x 50cm (24 x 19 11/16in).Footnotes:ProvenanceBonhams, London, 24 March 2010, lot 63;Grosvenor Gallery, London;A private collection, Lagos.It is challenging to precisely date the present work, as it forms part of a portrait series which runs through Gerard Sekoto's oeuvre from the 1950s. Portrait of a youth evokes the composition and palette of a series of bust portraits created by the artist in the 1960s – a decade colloquially referred to as Sekoto's 'Blue Head' period. The work illustrates a shift in the artist's style, as the warm yellows and oranges that had dominated his earlier palette are replaced with cool blues and black. The subject is depicted in profile, her head tilted down, so that half of the youth's face is cast in shadow. The areas of high relief – the cheekbone, bridge of the nose, and forehead – are highlighted in white and pick up strokes of buttery yellow in the clothing and background. The dominant cool palette of the present work evokes both Pablo Picasso's Blue Period and the distinctive employment of indigo in the figurative paintings of the pioneer of postcolonial Nigerian art, Yusuf Grillo, who worked contemporaneously to Sekoto. While recognising the influence of art historical references on his practice, the South African artist's decision to employ this palette was primarily motivated by aesthetic preoccupations: 'The reason for my using the blue was merely because I chose it and that it was sufficiently strong to contrast with warmer colours' (Sekoto quoted in Lindop, 1988: p. 122). In the present work, warm pink and yellow highlights powerfully contrast with the blue and black background built up using textured brushstrokes. Presented in the artist's frame, Portrait of a youth thus stands as a skilful depiction of the human subject, expressed through Sekoto's signature handling of form and colour.BibliographyBarbara Lindop, Gerard Sekoto (Randburg, SA, 1988).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 29
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)My Mama at 80 titled, signed and dated 'MY MAMA/AT 80/ Ben Enwonwu/ 1973' (lower right)oil on canvas72 x 49.5cm (28 3/8 x 19 1/2in).Footnotes:ProvenanceThe artist's family.Painted in 1973, My Mama at 80 offers a striking portrait depicting the mother of the renowned pioneer of African modernism Odinigwe Benedict Chukwukadibia Enwonwu MBE, better known as Ben Enwonwu (1917-1994). The artist's mother, Ajie Iyom Nweze Enwonwu, was born and lived in Onitsha on the eastern bank of the Niger river in Nigeria. She used the city as the base for her successful business trading textiles. While the demands of the textile trade frequently took Iyom Nweze away from the family when Enwonwu was a young child, they developed an exceptionally close relationship in her later years. The depth of this bond is illustrated through the intimate quality of the artist's approach to his subject. His expressive handling of paint is applied using individuated brushstrokes. The tactility of the strokes convey the psychological complexity of the subject through visceral passages of blue-green, creamy white, and deep brown, all juxtaposed with flushed pinks to great effect.Enwonwu's depiction of his mother conveys the matriarch's reputation as a formidable force in family and business matters alike. The composition of the portrait is closely cropped to her head and shoulders to focalise her direct gaze and stoic expression. Her command of authority is further expressed through Enwonwu's decision to paint Iyom Nweze in her Òtù Ọdụ title regalia (also referred to as Omu regalia in S. Ogbechie, 2008: p. 194). The Ọdụ title was granted to Onitsha women who were deemed to be important contributors to the progress, development, and peace of the local community. They were understood to constitute the elite women's socio-political and economic group and were accordingly granted the title Iyom. In the portrait, Enwonwu depicts Iyom Nweze in the official dress of the Òtù Ọdụ: two white loin cloths tied over each other, a white head tie, and a coral bead necklace. These were worn in addition to bangles and anklets made from elephant tusk - a valuable material which symbolises wealth, beauty, royalty, and authority in Onitsha culture. As the only known painting of his mother by the artist, the portrait is exceptional within Enwonwu's oeuvre. The highly personal subject matter situates the work within a broader lineage of artists who sought to represent close family members through their artmaking – a trope particularly prevalent in the Western painterly traditions that constituted a significant part of Enwonwu's training in Nigeria and at the Slade School of Fine Art in London where he studied in the 1940s. The non-representational dappled blue background and passages of pink paint applied to the cheeks of the subject particularly evoke Paul Cézanne's portraits of his wife, Marie-Hortense Fiquet, created in the 1880s. The French artist's experimental approach to painterly technique was of great inspiration to Enwonwu. During his lecture tour in the United States in 1949, he declared, 'Cézanne was a bad technician but he is among the greatest of the Impressionists' (Enwonwu quoted in S. Ogbechie, 2008: p. 107). Taking a similarly experimental approach to his own portraiture, Enwonwu fused such references to Western modes of figurative representation with traditional Igbo tropes to formulate a distinctly modern Nigerian aesthetic. He argued for the importance of embracing Western techniques while retaining the traditions of African art: 'Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible' (Enwonwu quoted in Ogbechie, 2008: p. 79). This impetus to cultural hybridity championed by Enwonwu was shared by other influential pioneers of Nigerian modernism who were similarly responding to figurative Western traditions including Aina Onabolu (1881-1963) and Akinola Lasekan (1916-1974).Portraiture occupies a significant place in Enwonwu's oeuvre. He developed a signature stylistic approach to the human form as evidenced by the acclaimed portraits of women he created contemporaneously to My Mama at 80 in the early 1970s. Tutu (1974), Christine (1971), and Portrait of Marianne (1972) all feature women with elongated features. Such stylisation was understood by Enwonwu to physicalize the impetus he observed in postcolonial Nigerian society for growth 'in politics, in trade, in art, in every aspect of life' following the country's independence in 1960 (Enwonwu quoted in S. Nkwagu).Enwonwu's portrait of his mother consequently stands as a striking point of distinction. He does not employ his typical stylised elongation of the body, but rather depicts her faithfully with realist proportions to express the intimacy of their relationship. The work therefore stands as a testament to the importance of his mother's role throughout his life, while simultaneously offering a powerful example of the artist's contribution to the emergent aesthetics of a transnational Nigerian modernism.We are grateful to Osa Dahlton Ozigbo-Esere for their assistance researching Òtù Ọdụ title regalia. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)Solomon Nkwagu, 'Ben Enwonwu', Yemisi Shyllon Museum of Art and Google Arts & Culture, online.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 30
Akinola Lasekan (Nigerian, 1921-1972)Femi signed 'Akinola Lasekan' (lower right)oil on board 48 x 38.5cm (18 7/8 x 15 3/16in).Footnotes:'A versatile artist is not just one who works in many stress areas of art, but one who handles each area of his interest with maximum professional competence, making him a master in each area, to the extent that it will be very difficult to really know the primary area of his speciality. He is not a 'Jack of all trades', as the cliché goes, but he is a master of all trades; that is, in each, he is a master. Akinola Lasekan was indeed a versatile artist... He was a painter, illustrator, textile designer, graphic designer, cartoonist, an art teacher, a proprietor and a curator:As a painter, Lasekan distinguished himself as early as 1938 when the Weekly Record newspaper recognised him 'as one of the portrait painters following the footsteps of Aina Onabolu, the pioneer.'The evidence is there with his superb academy colour language that is greatly and gracefully acquired by his portrait works, group compositions, landscapes and one-figure compositions. His paintings were well exhibited all over Nigeria, Ghana and the United Kingdom between 1940 and the early 1970's'.BibliographyProf. Ola Oloidi, 'Lasekan: The Unrivaled Pioneer', Position International Art Review, vol.5, no. 4.For further information on this lot please visit Bonhams.com
Los 38
Gerard Sekoto (South African, 1913-1993)Nude Study signed and dated 'G. SEKOTO 60' (lower right)gouache on paper72 x 52cm (28 3/8 x 20 1/2in).Footnotes:ProvenanceA private collection, UK.The present work exemplifies South African artist Gerard Sekoto's interest in illustrating the female form - an impetus particularly evident in the 1960s. The work on paper relates closely to a series of blue heads created by the artist in the early 1960s and a number of female nudes executed in gouache towards the end of the decade. As in these comparable works, Nude Study depicts the head and shoulders of a figure presented in a frontal position. The woman is set against a non-representational background comprised of fluid strokes of pigment. Responding to this lyrical painterly approach, Barbara Lindop suggests that Sekoto's studies of the human form in this period are of an idealised African woman rather than living subjects and therefore 'are more abstracted and iconic than the earlier portrait studies' (Sekoto quoted in Lindop, 1988: p. 55). Certainly, the present work might be conceived as an exercise in form, line, and colour as much as an expression of figurative representation. Sekoto highlights the woman's facial features and jewellery using warm red tones that contrast with the cool blues and buttery yellow hues of her skin. BibliographyBarbara Lindop, Gerard Sekoto (Randburg, SA, 1988).For further information on this lot please visit Bonhams.com
Los 42
Wim Botha (South African, active 1974)Prism 18, 2015 signed and numbered '2/3' (bronze verso)bronze with wooden pedestal, edition of 3 + 2APbronze 71 x 35.5 x 33cm (27 15/16 x 14 x 13in)overall 173 x 35.5 x 33cm (68 1/8 x 14 x 13in).Footnotes:ProvenanceStevenson, Cape Town;A private collection (acquired from the above in 2016).Prism 18 (2015) belongs to an ongoing series of semi-abstracted busts created by South African artist, Wim Botha. Botha, who lives and works in Cape Town, has gained a reputation for reconfiguring art historical tropes through his use of unconventional materials including stacked books and government documents. The present work is formed from a polystyrene block which has been roughly shaped using a chainsaw and wire cutter before being cast in bronze. The face of the figure never fully emerges from the carved block. The features remain unarticulated and are further obscured by the intersecting cuts that crisscross the surface of the blackened bronze. The violent treatment of the bust is carried through to the wooden plinth which features a jagged incision to its right side. The angular lines and blackened quality of the bronze sculpture destabilise the meanings traditionally granted to a portrait. Rather than identifying a subject, the bust stands as an index of process, prompting us to reconsider the role of artmaking in the formation of identity and power.Botha's confrontational practice has granted him a number of prestigious awards including the Helgaard Steyn Prize for sculpture in 2013, the Standard Bank Young Artist Award in 2005, and the first Tollman Award in 2003.For further information on this lot please visit Bonhams.com
Los 45
Otis Kwame Kye Quaicoe (Ghanaian, born 1990)Untitled, 2017 signed 'Kye' (lower right of canvas illustrating woman with red lips)acrylic and oil on canvaseach canvas: 46 x 45.8cm (18 1/8 x 18 1/16in).(3)Footnotes:ProvenanceCommissioned from the artist by the present owner in 2017.Commissioned by the present owner in 2017, the three works exemplify Ghanian artist Otis Kwame Key Quaicoe's riotous celebration of colour which has come to characterise his approach to portraiture. His kinetic application of richly saturated hues carves out the head and shoulders of the women from backdrops swept with violet purple, mossy green, and bluish grey. For Quaicoe, colour is not simply employed as a pictorial element, but is imbued with feeling. 'Yellow, bright green, orange, pink... they are colors that make me feel alive. Any time I see bright yellow it just makes me really happy' (Quaicoe quoted in Steer, 2021). Quaicoe rejects naturalism to embrace the emotive potential of his palette: 'Color means a great deal where I come from. It's a distinguishing quality – a means of self-expression' (Quaicoe quoted in NevahBlackDown: A Magazine, 2020). The brightly coloured lips of the female figures – fiery red, sunny yellow, and cool blue – act as a device that unites the three works while granting each portrait a distinctive character.Born in 1988 in Accra, Ghana, Quaicoe found early artistic inspiration in the stylized depictions of famous actors featured on the hand-painted movie posters he encountered at cinemas as a child. He began visiting artists' studios to observe their practice and attempted to imitate their techniques. One of these local artists referred Quaicoe to the Ghanatta College of Art and Design where he undertook an MFA in painting. The young artist conceived of his training as a period of experimentation but felt that it was only following his graduation in 2008 that he found his own creative vision. In 2017, he left Ghana for Portland, Oregon, where he continues to live and work today. He has since garnered international acclaim for his empowering depictions of black subjects.The present works were created at a pivotal moment in Quaicoe's practice. They mark a turning point at which the artist moved from a heavily stylised depiction of his figures to pursue figurative realism. The three portraits of women mark an intermediary stage in this transition, casting them as significant works within the artist's developing oeuvre. In his more recent works, the vibrant palette used to articulate the women's faces are restricted to his figures' clothing and the backgrounds, while the blue-grey used to depict the woman with blue lips has become the standard hue of his subjects' skin tones. In 2020 Quaicoe held his first solo exhibition in America at the Roberts Projects, Los Angeles. Titled Black Like Me, the show established the artist's distinctive intervention in contemporary portraiture. His luminous oil paintings of black subjects asserted his ongoing thematic exploration of representation in relation to the Africa diaspora. The exhibition catapulted Quaicoe to critical attention and in 2021 he undertook the prestigious residency at the Rubell Museum, Miami, which culminated in his first solo museum show. Quaicoe is now widely considered to be one of the foremost figurative artists working today. His work is currently on display in the acclaimed exhibition Black American Portraits at the Los Angeles County Museum of Art until April 2022. BibliographyEmily Steer, 'Otis Kwame Kye Quaicoe: 'Who Is This? Why Are They Staring So Deeply at Me?'', Elephant Magazine, 8 April 2021, online'Black Like Me – Paintings by Otis Kwame Kye Quaicoe', NevahBlackDown: A Magazine, 13 January 2020, online.For further information on this lot please visit Bonhams.com
Los 7
Chéri Samba (Democratic Republic of Congo, born 1956)J'aime la Couleur signed and dated 'Chéri SAMBA/ 2004' (lower right)acrylic and glitter on canvas113.5 x 144.5cm (44 11/16 x 56 7/8in).Footnotes:ProvenanceAcquired directly from the artist by the present owner. 'Colour is everywhere. To me, colour is life. Our heads must twirl around as if in a spiral to realize that everything around us is nothing but colours. So I say 'I like colour' instead of saying 'I like painting'. Colour is the universe, the universe is life, painting is life.' – Cheri Samba(J'aime Chéri Samba, 2004: p. 126)A kaleidoscopic celebration of colour, J'aime la Couleur (2004) belongs to the best known series by the Congolese painter Chéri Samba. It depicts the artist with a surrealist spiralling head unfurling upwards from his shoulders. The vibrant pink glittered interior of the figure's head materialises Samba's conviction that '[a]n artist must show people what he has inside' (J'aime Chéri Samba, 2004: p. 19). The artist's passion for colour is evidenced through the rainbow palette employed in the unconventional self-portrait. A line of multicoloured droplets fall from the end of a paintbrush clenched in the artist's teeth, echoing the beads that fall vertically within his coiled neck. The message is clear: colour is the lifeblood of the artist. While the majority of works in the J'aime la Couleur series set Samba's head against a bright blue backdrop, the present work offers a rare black background. Samba's distinctive graphic style was fostered through his early training as a sign painter. Born in 1956, he left home at the age of 16 to apprentice himself to a studio in Kinshasa that specialised in producing signs for advertising. He found inspiration in the work of the more established sign painters Moké, Bodo, and Cheri Cherin which were displayed along Kasa Vubu Avenue - a central thoroughfare of the capital city. Samba was driven to differentiate himself by finding his own distinctive style. Influenced by his work as a comic strip illustrator for the bimonthly magazine Bilenge Info, he began introducing text to his paintings in 1975. He believed this would prompt viewers 'to stop and take time to read it, to get more into the painting and admire it' (J'aime Chéri Samba, 2004: p. 15). He coined this idiosyncratic inclusion of text in banners and speech bubbles the 'Samba signature'. The text offered Samba an opportunity to present narrative commentary on his work. In J'aime la Couleur, the writing in the blue box proclaims the artist's conviction in the importance of colour both aesthetically and as a metaphor for the diversity of life. BibliographyJ'aime Chéri Samba, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 24 January - 2 May 2004.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 520
Goldmünze "20 Mark", Deutsches Kaiserreich/Preußen "Wilhelm II.", "1898". 900/Feingold, ca. 7,8 g; vorderseitig Portrait Kaiser Wilhelms II. im Profil nach rechts mit Umschrift "Wilhelm II. Deutscher Kaiser König v. Preussen" und Münzstättenbuchstabe "A" für Berlin; nahezu kaum Gebrauchsspuren; Durchmesser 22,51 mm; Dicke 1,44 mm. (aufgrund des ungewöhnlich guten Zustands und der Beschaffenheit handelt es sich hier vermutlich um eine in 900/-Feingold ausgeführte "Original Reichsgold-Nachprägung" der sog. Schmidt-Hausmann-Produktion der Jahre 1959-62, demnach kein historisches Exemplar aus dem Jahr 1898; bezüglich des Zustandes und der Echtheit empfehlen wir eine persönliche Besichtigung der Münze; alle unsere Angaben erfolgen nach bestem Wissen und Gewissen ohne Gewähr). Weitere Fotos auf Anfrage.
Los 519
Goldmünze "20 Mark", Deutsches Kaiserreich/Preußen "Wilhelm II.", 1894. 900/Feingold, ca. 7,9 g; vorderseitig Portrait Kaiser Wilhelms II. im Profil nach rechts mit Umschrift "Wilhelm II. Deutscher Kaiser König v. Preussen" und Münzstättenbuchstabe "A" für Berlin; leichte altersübliche Abnutzungsspuren; Durchmesser 22,49 mm; Dicke 1,40 mm. (Bezüglich des Zustandes und der Echtheit empfehlen wir eine persönliche Besichtigung der Münze; alle unsere Angaben erfolgen nach bestem Wissen und Gewissen ohne Gewähr). Weitere Fotos auf Anfrage.
Los 258
4-teilige Portrait-Miniaturen der französischen Königsfamilie Ludwigs XVI. + Marie Antoinettes, wohl Frankreich, Ende 18./19. Jh. Farbige Gouache (wohl auf Elfenbein), datiert "1785/(8?)" mit beidseitig verglastem Goldrahmen (14 ct.); verso textile Seidenstoff(?)Hinterlegung mit graphischem Heraldik-Motiv eines französischen Grafenwappens der Napoleonzeit; frontal auf grünem Fond 4 ovale höfische Portraitminiaturen als Gärtner/Gärtnerinnen, vermutlich Königin Marie Antoinettes (oben links), Ludwigs XVI. (?) oben rechts, sowie zwei ihrer Kinder, unten links Marie Therese Charlotte (1778-1851, nach einer Malerei von Elisabeth Vigée-Lebrun) und vermutlich eines ihrer Brüder (Louis Joseph Xavier de Bourbon, Herzog der Bretagne (1781-89) oder Charles Louis/Ludwig XVII. (1785-95)); in der Mitte Allianzwappen der Bourbonen (Ludwigs XVI.) und Marie Antoinettes mit französischer Königskrone, gemalte filigrane Schleifen- und Blütenornamentik mit bekrönendem Bourbonen-Lilien-Medaillon; Goldrahmen (vermutlich verändert, 5 Spangen fehlen) m. doppelter frz. Meistermarke u. Insekten-Prellmarke; Maße ca. 6,5 x 5,3 cm; ca. 32 g. Weitere Fotos auf Anfrage.
Los 59
Paar Manschettenknöpfe mit mexikanischer 2 1/2 Pesos Münze, 20. Jh. Gesamtgewicht ca. 13,8 g. 585/- Gelbgold Fassung, Bügel und Klappmechanik. Polierter und fein gravierter schmaler Fassungsrand in Strahlenform. Gesamtdurchmesser ca. 19,9 mm. 900/- Gelbgold mexikanische 2 1/2 Pesos Münze, Portrait-Darstellung von Miguel Hidalgo Costilla. Weitere Fotos auf Anfrage.
Los 310
Bildplatte "Friedrich der Große" (nach Anton Graff), wohl Rosenthal, 1930er Jahre. Rechteckige Porzellanplatte mit farbiger Bemalung; Alters-Portrait König Friedrichs II. (des Großen) von Preußen in blauem Uniformrock mit dem Bruststern des Schwarzen Adlerordens nach dem um 1781/86 entstandenen Originalgemälde von Anton Graff (1736-1813); neuere Rahmung mit kartonversiegelter Rückseite (nicht geöffnet, Manufakturmarke vermutlich verdeckt); Bildmaße ca. 23 x 19 cm, Rahmenmaße 27,3 x 22,8 cm. Gewicht 880 g. Weitere Fotos auf Anfrage.
Los 494
2 Daguerreotypien in originalen Rahmenschatullen, um 1850/60. Silberbeschichtete Kupfer-Portrait-Scheiben unter Glasabdeckung mit grünen und roten Samt-Passepartouts in scharnierten etuiartigen Deckel-Schatullen; außen jeweils in grüner und schwarzer Lederoptik überzogen; rechteckige Schatullen mit innen ovalen verglasten Portrait-Motiven, 1 x ein spätbiedermeierliches Damenbildnis (es könnte sich laut Einliefererauskunft dabei vielleicht um eine Tochter aus dem ostpreußischen Adelsgeschlecht von Dargitz handeln), Bildmaße 6,2 x 5 cm (Etuirahmenmaß 9,4 x 7,7 cm), 1 x ein etwas größeres entsprechendes Herrenbildnis, Bildmaße ca. 9 x 7,4 cm (Etuirahmenmaß 10,5 x 13 cm, Schatulle hier verzogen); an den Metallplattenrändern jeweils etwas oxidiert; beide Rahmenetuis außen mit altersbedingten Gebrauchsspuren. Gesamtgewicht 189 g. Weitere Fotos auf Anfrage.
Los 477
Lindberg, Stig (1916 - 1982). Reliefplatte, Keramik, farbig glasiert (teils matt, teils glänzend), Rechteckform; stilisiertes Brust-Portrait eines Paares, auf den Köpfen verschiedene maskenartige Darstellungen weiterer Köpfe, teils gehörnt an Tierköpfe erinnernd; unten rechts geritzte Signatur "StigL"; Maße ca. 32 x 31,5 cm, verso blindgeprägte runde Stempelmarke der Manufaktur von Gustavsberg (Schweden) sowie kleines ovales Papieretikett mit Herstellerbezeichnung "Gustavsberg Sweden". Gewicht ca. 3,66 kg. Weitere Fotos auf Anfrage.
Los 151
An early 20th-Century pearl and enamelled portrait pendant of circular outline, one side with purple guilloche enamel ground and scrolling pearl set detail, the reverse with glazed panel and portrait miniature of a gentleman in profile, the whole in a single border of seed pearl diamonds, unmarked; to a trace link chain with lozenge link details(Diameter of pendant: 3.6cm)
Los 108
RICHARD VAN BLEECK (Holland, 1670-1733); circa 1712."Esther Faints before Ahasuerus".Oil on canvas.Retains its original canvas.Signed on the back.Measurements: 46 x 55 cm; 65,5 x 75 cm (frame).The author of this canvas has chosen the most dramatic moment of the biblical story that narrates the life of Esther. In the centre of the scene, a group of people are holding a young woman who is fading away. This is Esther, who appears to be losing consciousness, captured by the artist in a realistic and somewhat scenographic manner, as the young woman's eyes are narrowed, one of her knees is bent in an attempt to support her own weight, her arms are open and drooping, and her extreme whiteness contrasts with the rest of the figures in the scene, indicating the degree of Esther's weakness before the king. Ahasuerus is holding Esther in a foreshortened pose that shows the momentariness of the image, as it seems that he has just risen from his throne with the intention of preventing the young woman from fading away. On the other side, assisting and supporting the sitter, are two women, one standing, wearing an elegant dress and a bejewelled headdress, and the other crouching down, holding part of Esther's dress. The group is completed by a figure in the left corner of the composition, standing at a distance from the group. His clothing suggests that he is a person of religious rank, as if he were the king's adviser, as his position is close to the throne. One of the most notable characteristics of this figure is that he is the only one who looks away from the events that are happening to Esther and turns his eyes towards the viewer, establishing a connection with him and making him a participant in the contemplation of the religious event, although not in an accomplice but in an authoritative manner, as he raises his face and points towards the scene with one of his hands, while with the other he holds a parchment. The work is set in an interior that follows classical canons, centred on perspective and depth, with the usual red curtain and the space open in the background to the landscape through an opening. The scene of the painting presents a narrative from the Book of Esther, which is part of the Old Testament. The painting depicts Esther, the Jewish wife of King Ahasuerus, sometimes referred to as Xerxes in modern texts. After the king ordered the execution of all the Jewish people in the Persian Empire, Esther went to him, without being summoned, to beg him to spare her people. This broke court etiquette and Esther risked death in doing so. She ended up fainting before the king, which led to a change in the king's decision, allowing the Jews to defend themselves from his attack, preventing them from being killed.Richard van Bleeck (1670-1733) was a Dutch painter of the Golden Age. He was born in The Hague. According to the Netherlands Institute of Art History, he was a pupil of Theodor van der Schuer and Daniel Haringh.S e became a portraitist and painted the portrait of the engraver Coenraet Roepel, before moving to London in 1733, where he remained. He was the father of Pieter van Bleeck, who was born in The Hague, possibly moved with him to London, where he also became a portraitist.
Los 156
Raimundo de Madrazo y Garreta (Spanish, 1841-1920)Mi delirios sobre el chimborazo de Simón Bolívar signed 'R Madrazo' (lower left)oil on paper55 x 41cm (21 5/8 x 16 1/8in).unframedFootnotes:Born in Rome, Raimundo de Madrazo came from a distinguished artistic dynasty which included his grandfather José de Madrazo (1781-1859), a neoclassical painter and his father Federico de Madrazo (1814-1894) who trained in Paris with Franz-Xaver Winterhalter (1805-1873) and was regarded as one of the best portrait painters in Spain.After starting his career in the studio of his father and grandfather, Madrazo entered the Real Academia de Bellas Artes de San Fernando in Madrid. In 1862 he moved to Paris where he spent most of his life. Madrazo soon became famous and sought after for his stylish portraits of members of the high society.The present work illustrates with fresh and bold colours Simón Bolívar's feverish delirium on Chimborazo, an inactive volcano in Ecuador at the time considered to be the highest mountain of the world. On the 13th of October 1822 in Loja it is told that Bolívar wrote the first version of his prophetical poem Mi Delirio sobre el Chimborazo, text that should be considered one of the most important works of Venezuelan romantic literature.Bolívar wrote about his meeting with the god of Time. This encounter opened his eyes and empowered him to continue his 'march for freedom' as he described it in the text.He wrote:'A feverish delirium engulfed my mind. I felt as if inflamed by strange, supernatural fire. The God of Colombia had taken possession of me. Suddenly Time stood before me-in the shape of a venerable old man, bearing the weight of all the centuries, frowning, bent, bald, wrinkled, a scythe in the hand. 'I am the Father of the Centuries! I am the Guardian of fame and the secrets of life. My Mother was Eternity; the limits of My Empire are the Infinite. For me there is no tomb, because I am more powerful than Death. I gaze upon the Past, the Future, and through my hands goes the Present. Why think vain thoughts, you of the human race, whether you be young or old, sunk in obscurity or cast in heroic mold?'Think you that this universe of yours is anything, that to fight your way to eminence on an atom of creation is to raise yourselves? Think you that the infinitesimal moments you call centuries can serve for measuring my secrets? Think you that holy truth has been vouchsafed to you? Think you in your madness that your actions have any value in my eyes? All about you is less than a dot in the presence of the Infinite, who is my brother!'Filled with terror, I replied: 'Surely, oh Time! the miserable mortal who has climbed this high must perish! All men have I surpassed in good fortune, for I have raised myself above all. The earth lies at my feet; I touch Eternity; beneath me I feel the throbbing of Hell; beside me I contemplate radiant planets, suns of infinite dimensions. I gaze upon the realms of space which enclose matter; I decipher, on your brow, the history of the past and the thoughts of Destiny.''Man!' spake Time to me. 'Observe! Learn! Preserve before your mind what you have seen, trace for your fellow men the picture of the physical universe, of the moral universe. Hide not the secrets which Heaven has revealed to you! Speak the Truth to mankind!'(translation from T. R. Ybarra, The Passionate Warrior, pages 252-54)Once the phantom disappeared, Bolívar remained in shock and unconscious for a long time. He wrote to have been awaken by the 'ringing voice of Colombia'. Once he opened his eyes he immediately wrote down what he had experienced, his 'Delirium'. The episode strengthened Bolívar and released him from his doubts and fears, empowering him to lead his people to freedom from Spanish colonisation.For further information on this lot please visit Bonhams.com
Los 16
Simon Elwes (British, 1902-1975)Portrait of Susan Leslie in a blue shawlsigned and dated 'Simon Elwes 55' (lower left) oil on canvas 91.5 x 71.5cm (36 x 28 1/8in).Footnotes:ProvenanceThe family of the sitter by descent.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 17
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Portrait of a lady, standing full-length, in a cream dress, resting her right hand on a chairindistinctly signed (lower left); inscribed 'J. J. Shannon Esq. R.A. /Holland Pk. Rd.)' (on artist's label affixed stretcher verso) oil on canvas 218.5 x 124.5cm (86 x 49in).Footnotes:ProvenanceAnon. sale, Christie's, London, 13 January 2000, lot 197.Private collection, UK.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 20
Dame Laura Knight, RA, RWS (British, 1877-1970)Portrait of Leighton Lucassigned, dated and inscribed 'To my dear Mr Lucas/from/Laura Knight/July 1920' (lower right) charcoal 36.2 x 24.5cm (14 1/4 x 9 5/8in).Footnotes:Leighton Lucas was an English composer, born into a Canadian musical family. His father, Clarence Lucas, was a musical director and composer. He began his career as a ballet conductor and then progressed into orchestral music composition. Leighton had four siblings, including Van Norman and Claribel (depicted in lots .. and .. of this sale) who also had careers in music. Dame Laura Knight met the Lucas family in the 1920s and gifted several etching portraits to the family.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 205
Jean Jansem (French, 1920-2013)Portrait of a seated ballerina signed and dated 'Jansem 82' (lower right)watercolour, pencil and charcoal66.7 x 49.5cm (26 1/4 x 19 1/2in).Footnotes:ProvenanceWith The Everard Read Gallery, Johannesburg.Private collection, UK.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
Los 21
Dame Laura Knight, RA, RWS (British, 1877-1970)Portrait of Van Norman Lucas drinking teasigned and dated 'L.K/May 20/1925' (lower left) charcoal 25.4 x 20.3cm (10 x 8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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