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283287 Los(e)/Seite
Los 223
Edmund Pielmann - Charcoal study - Portrait of a young girl, signed and with Ateleier stamp together with Lena, Pilichowski - Watercolour - Landscape, signed Pillico, both unframed Condition: All being creased, with some stains present on all of the pieces, please see extra images. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms. Pictures - The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.
Los 391
Victorian silhouette of a girl in oak frame, together with a small collection of 19th Century portrait sketches, etc Condition: Numerous signs of discolouration, losses to edges, gesso frame with losses, foxing to the mount, - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Los 476
UNATTRIBUTED (20th Century British School); oil on canvas, portrait of a young gentleman, unsigned, 38 x 30cm, framed and glazed (af).Additional InformationThere are numerous scratches, paint losses, blemishes and marks as well as craquelure; has slipped in the frame. This painting will need attention and restoration and is being sold as seen.
Los 559
An Victorian hand painted portrait miniature on ivory, a maiden seated within a landscape setting, diameter 8cm, overall 15 x 13cm, and a Victorian meerschaum pipe, fitted in leather case (2).Additional InformationMeerschaum pipe is slightly burnt in parts, scuffs, chipping and loss to the decoration to each.
Los 585
FRANCESCO BARTOLOZZI (Italian, 1777-1815); a coloured engraving, 'Edward Prince', portrait after Hans Holbein, with text below 'In His Majesty's collection, published as the act directs June 1 1797 by I. Chamberlaine Brompton Row Middlesex', image 26.6 x 22cm, framed and glazed.Additional InformationSome spotting and foxing, both to image and mount, frame heavily worn.
Los 593
CHARLES VIKTOR ROBERTSON; a Victorian leather bound photograph album of family portraiture including Robertson family members, the album panelled with gilt tooled detail, and two oils on canvas portraits contemporary to the album depicting members of the same family comprising a mother and child, 74 x 58cm, and a young gentleman in formal dress wearing floral pin, 54.5 x 42cm (af) both in gilt frames (3).Additional InformationThe portrait of the gentleman has had a surface impact and damage with surface loss, there are also further pronounced scuffs and scrapes all over this painting. The painting of the mother and child has also had a surface impact and resultant loss, with some further surface scuffs and paint losses particularly to lower section, both with pronounced craquelure throughout. The frames are both heavily worn with chips, losses and splits. Some scuffing to the leather album with further foxing and spotting to page interiors, some small tears visible as well.
Los 61
French - Early 19th Century Superb Quality - Signed Portrait Miniature on Ivory of A French Noble Lady. Signed to Bottom Right. The Miniature Painting Is Inlaid to Cover, of a Superb Quality Carved Ivory Ladies Powder Bowl, Dating From Around the 1850's or Earlier. All Aspects of this Item Shows Top Quality. Size Top Cover Painting on Ivory 4.5 x 4.5 Inches - 11.25 x 11.25 cms. Height of Box 2 Inches - 5 cms. This Item Cost £1,500 In The 1990's and Is Offered at Low Estimate.
Los 255
A charming 19th Century antique Napoleonic War interest hand painted portrait of Napoleon on an inlayed Ivory frame. The finely painted portrait painted on ivory depicting Napoleon in dark green dress uniform displaying his medals, signed with illegible signature to the right. Measures approx 14x11cm
Los 256
A charming 19th Century antique Napoleonic War interest hand painted portrait of Napoleon II on an inlayed Ivory frame. The finely painted portrait painted on ivory depicting Napoleon II in white dress uniform displaying his medals and clutching his sword, signed with illegible signature to the right. Measures approx 15x12cm
Los 26
A good early to mid-20th century WWI First World War period cast iron wall plaque depicting ' Generalfeldmarschall Von Hindenburg ' (General Von Hindenburg). Cast iron, raised in relief portrait of Hindenburg, cold painted and signed by the painter. Raised notation to base. An impressive period plaque. Measures approx; 40cm x 30cm.
Los 319
An original WWI First World War ' Princess Mary's Christmas Gift ' brass tin box. The surface of the lid decorated with a portrait of Princess Mary with an ‘M’ either side and in the corners are the names of the Allies. The box retaining the original greeting card with the words ' With Best Wishes For A Victorious New Year From The Princess Mary & Friends At Home. Interesting item.The Princess Mary Christmas gift box was a brass or silver tin containing a number of gifts intended to be distributed to all members of the armed forces of the British Empire on Christmas day 1914, during World War I.
Los 475
An original WWII Second World War Third Reich Nazi German soldiers Iron Cross, Wound badge and portrait. The Iron Cross being a 2nd Class example suspended on original ribbon with Swastika emblem to the centre above 1939 date and wound badge being a black example. Both medals displayed in a wooden and glass frame with the soldiers black and white photograph to the centre. Measures approx 31x31cm
Los 10
Richard Widmark signed 10 x 8 inch b/w early portrait photo, slight creasing to RH side not affecting autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Los 10
Yusuf Adebayo Cameron Grillo (Nigerian, born 1934)Ayi and Tayi inscribed 'AYI and TAYI/ Y. A. GRILLO/ 1981' (verso)oil on canvas 126 x 89.5cm (49 5/8 x 35 1/4in).Footnotes:One of the most accomplished and respected living Nigerian artists, Yusuf Grillo's career spans a remarkable six decades. His characteristic colour palette, cool blues and purples, and the geometric fragmentation of his compositions are instantly recognisable.Grillo began his artistic journey at the Nigerian College of Arts, Science and Technology in Zaria in 1955. Support for Nigerian independence was growing in strength during this period and inspired the young Grillo to formulate an aesthetic that both communicated and celebrated a distinctly Nigerian identity. He and a group of fellow students founded the Zaria Art Society, a group that opposed the hegemony of European art traditions in Nigeria's educational institutions.Grillo has said that there are two attributes that underpin his aesthetic: 'originality and sincerity'. Raised in the Brazilian quarter of Lagos, Grillo has a strong identification with cosmopolitan Yoruba culture. His art demonstrates a sincere appreciation for this heritage. In this portrait, we see two young Yoruba women, Ayi and Tayi. They are wearing traditional gele. Their figures are composed from overlapping, angular geometric planes. This fragmentation is reminiscent of the work of European avant garde modernists like Picasso or Braque, but it also echoes the ancient tradition of Yoruba sculpture. The very carvings that so inspired Picasso and his peers.Grillo explained the importance of Yoruba culture on his aesthetics in an interview in 1998:'The very first thing for an artist to do is to know who he or she is. You have to know where you are coming from. You have to know your roots. For example, if you have been born in Benin, you have to know Benin, its traditions and history...in the same vein, if a Yoruba person knows that he is part of cultural artefacts such as masks, the Gelede, the Ibeji statuettes and the Sanogo figurines, he knows what they mean and are used for, he identifies with them and equally embraces them because he is part of them. Therefore, whatever he intends to produce as a genuine and sincere artist will reflect all of these.'Bibliography:P.C. Dike, ed. The Zaria Art Society: A New Consciousness, 'Yusuf Grillo: Interview by Mike Omoighe' (Lagos, 1998) p.64.For further information on this lot please visit Bonhams.com
Los 21
Irma Stern (South African, 1894-1966)'Arab with Dagger' signed and dated 'Irma Stern 1945' (upper right)oil on canvas71.5 x 71.5cm (28 1/8 x 28 1/8in).within original artist's Zanzibar frame.Footnotes:ProvenanceThe collection of Mr & Mrs Theodore Snitcher;A private European collection.ExhibitedJohannesburg, Bothner's Gallery, April 1946.Paris, Galerie de Beaux Art, 'Peintres d'Afrique', 1947, no.23.Pretoria, Christi's Gallery, 1948, no.11.Cape Town, South African National Gallery, 'Homage to Irma Stern', 1968, no.42.IllustratedStern, I, 'Zanzibar', pub. van Schaik 1948, illust pg. 71.Irma Stern painted 'Arab with Dagger' during her second visit to Zanzibar between 21st July and 30th October 1945. The painting was first exhibited at Bothner's Gallery, Johannesburg, in April/May 1946, when it was described by P. L. B. in a Rand Daily Mail review (26th April 1946) as:'Another fine study' For unknown reasons, it was not included in Stern's first two Zanzibar exhibitions, at the Gainsborough Galleries, Johannesburg, in December 1945, and the Argus Gallery, Cape Town, in March 1946. In 1947, 'Arabe au Poignard' was shown (no.23) in the prestigious Irma Stern, Peintures d'Afrique exhibition, at the Galerie des Beaux-Arts, Paris. And in June 1948, it was no.11 in Stern's exhibition at Christi's Gallery, Pretoria. Soon after this, although there is no record of the sale in her archive, the painting was acquired by Mr and Mrs Theodore Snitcher in Cape Town. Reflecting the growing popularity of her Zanzibar works, the price of 'Arab with Dagger' increased from 125 guineas in 1946 to 185 guineas in 1948. Also in 1948, Irma Stern included a reproduction of this work in Zanzibar, her account of her four months on the island. The book Zanzibar gives some idea what Irma Stern was looking for in her figure studies of people she encountered there. In her description of an Arab Men's dance, p.90, she wrote: 'The Arab is always armed. He is the most masculine man I have ever struck. His movements are rigid, his body hard and brown like wind-beaten trees. He is kind, with sudden passion and hatred rising violent and untamed – and so is his dance'. Earlier, p.55, she had written of older Arab men that:'their faces expressed depths of suffering, profound wisdom and full understanding of all the pleasures of life – faces alive with life's experiences'. 'Arab with Dagger' surely illustrates some of these features.With her titles, such as 'Arab Priest', 'Arab Praying', 'Arab Reading', etc., and in her commentaries, Irma Stern gave the impression that her Zanzibar paintings were portraits from life. But there is evidence that this was not always the case. An entry in her cashbook that is preserved in the National Library in Cape Town lists L500 for 'frames – paints – modells (sic)' during her stay in Zanzibar. This notice confirms what Morris J. Cohen was to soon publish, that her paintings were framed by an Arab carpenter from pieces cut up from Arab doors which, in their complete state, were prohibited for export. But it also determines that Irma Stern worked from hired models in Zanzibar. Another writer, Elizabeth Moore who, like Cohen, had obviously discussed her experience with the artist, described how Stern would engage sitters in the market place and, if she had difficulty in communicating with them while they sat for her, she would phone the telephone exchange operator who would then translate her requests for changes in pose, etc., to the sitter! These works, therefore, were never portraits in the conventional sense of being commissions by and for the sitter. The model was hired to realise the image that the artist had for him. 'And if', as Morris Cohen wrote, 'a man has a crooked nose ... That crookedness is all the better for a little accentuation. It often adds a subtle sense of eccentricity and caricature to an Irma Stern portrait'. In other words, the model provided the raw material from which the artist constructed her image. Moreover, the image that Stern had of Arab people in Zanzibar was well-established in South Africa. Thus Elizabeth Moore could write of works like 'Arab Priest' and, one could add, 'Arab with Dagger':'Her portrait studies are living breathing beings who stand out from their canvases with extraordinary reality and poignantly express the fatalism that is the very essence of the personality of the [Islamic] people'. Irma Stern wrote later that 'From this period in Zanzibar amongst the Arabs was born in me a desire to work amongst people who have a definite philosophy in life ... a truth handed down from age to age, a worship of spiritual forces'. In light of this, she was hardly concerned with ethnographic details. In Zanzibar, she had written of the 'rainbow-coloured turbans, wound artfully, each particular race having a different traditional way' but chose not to distinguish the Arab groupings that constituted the Zanzibari elite. The turban in 'Arab with Dagger' is unusually colourful in Stern's works from this period but she appears to attach only aesthetic significance to it. Similarly, Stern must have known that the weapon in the painting would have been called a 'khanjar' in Zanzibar and yet she insisted on calling it simply a dagger. Stern's interest in this painting, indeed in her entire time in Zanzibar, was not so much with physical details but rather in connecting with – and celebrating – what she understood to be an ancient culture of passion, wisdom and spirituality.We are grateful to Professor Michael Godby for the compilation of the above footnote.For further information on this lot please visit Bonhams.com
Los 45
Thomas Baines (1820-1875)The Eastern Cataracts of the Victoria Falls signed and dated 'T Baines Dec 1869' (lower left), inscribed verso 'The Eastern cataracts of the VICTORIA FALLS ZAMBESI RIVER from GARDEN ISLAND/ sketched in 1862/ painted 1869/ At MANGWE RIVER MATABELI LAND/ Sth AFRICA/ T.BAINES/ for E. Mohr Esq./ care of E. Oliver Esq'oil on canvas49.5 x 63.5cm (19 1/2 x 25in).Footnotes:ProvenanceThe collection of Eduard Mohr (1828-1876);The collection of Major Aubrey Hilton of Harare;Acquired by a private collector circa 1970;By descent.When introducing Baines's Northern Goldfields Diaries John Wallis comments:'some of the oil paintings of these travels are known ... But the whereabouts of many of the canvases has not been traced ...' (1946, p.xx). Now one of these important and historic lost paintings has emerged from a private collection to make an emphatic contribution to Thomas Baines's landscape oeuvre.Born into a family of mariners in King's Lynn, Norfolk, Baines served a five-year apprenticeship as an ornamental painter acquiring drawing and design skills. Instead of pursuing coach decorating professionally, he sailed to Cape Town and worked as a marine and portrait painter. He travelled throughout southern Africa before being appointed artist-storekeeper on Gregory's North-West Australian expedition (1855-57), and Livingstone's Zambesi expedition (1858-59). Fulfilling his artist role more enthusiastically than his storeman duties, Baines produced innumerable drawings including maps, and paintings. While this work relates to the expanding parameters of 19th century science, he claimed he was an artist 'working as much as possible in the actual presence of nature' (Victoria Falls portfolio, 1865, p.2).When free to determine his subjects, Baines's paintings display excellent powers of observation, a retentive visual memory and sensuous responses to natural visual spectacles. Consequently, his experiences of the Zambesi River and Victoria Falls with James Chapman (1860-65) generated many accomplished, arresting landscapes, fascinating for their scientific content and information on British colonial enterprise. 'The Eastern cataracts of the Victoria Falls' is one such painting, striking for its aesthetic qualities, dramatic rendition of landscape, portrayal of black and white men, and scientific curiosity about light manifested in the dominant double rainbow hovering over tumbling blue-white water and rising diaphanous spray. The Baines and Chapman journals reveal the explorers' delight in rainbows amd Baines recounts on 5th August 1862:'Here one may stand on the very edge as on a pier of solid masonry and look not only into the dim intricacies of the mist-hidden distances – spanned over by a rainbow, glorious in its brilliant loveliness and forming, but for the small segment cut out by the shadow of the rock he stands on, a perfect circle, surrounded by another with reversed colours, fainter and more indefinite as it approaches the thinner spaces in the mist; - but he may peer down into the very abyss beneath him.'Having lived under wide Norfolk skies in rainy England, Baines was familiar with double rainbows, a phenomenon produced by light refraction in spray droplets. Passing through droplets, light reverses the colour spectrum refracting or bending twice on the inside of each droplet before exiting. Red tops the primary bow but in the bow iteration, colours reverse with red at the bottom. Working from his reference portfolio of drawings and watercolours, Baines represented the double rainbow in many Falls landscapes. The Eastern cataracts oil painting suggests that a carefully observed watercolour of the Falls from Garden Island in Johannesburg's Brenthurst Library was a reference source but in the oil Baines does not reproduce the soft watercolour haziness of the rainbows' spectral colour. He heightens hues to convey the concept of light refraction, drawing attention to spectral wavelengths perceived by human eyes viewing transparent spray at close quarters. Baines and Chapman reached the Zambesi in July 1862 after a very long trek through Namibia. They marvelled at the surging river, deep cliffs, and thunderous falling torrents generating spray clouds. Baines sketched the Falls in situ from many angles, extracting denotational graphic information on spatial forms and tones from a vast spatial vista. He painted detailed, confidently executed watercolours at the campsite, and wrote adjectivally profuse journal descriptions to enrich his visual memory. His oils were painted after leaving the Falls when he had time to work on canvas. Artists' canvases may carry two forms of information – painted images on prepared surfaces and written data on the reverse. Baines's 1869 Eastern Falls Mosi-oa-Tunya annotated landscape is one of a number of representations of the dry 1862 winter season when two white Englishmen and several local Africans measured and viewed the Falls. Characteristically, Baines positions himself as eye/I witness on a rock promontory gazing at the falling Zambesi.The back of the canvas conveys narrative information in Baines's handwriting: 'The Eastern cataracts of the VICTORIA FALLS ZAMBESI RIVER from GARDEN ISLAND sketched in 1862 painted 1869 At MANGWE RIVER MATABELI LAND Sth AFRICA T.BAINES for E. Mohr Esq. case of E. Oliver Esq.' These statements invite questions: Why was Baines painting at Mangwe River in 1869? Who are E. Mohr and E. Oliver, and why is the painting being sent to Mohr in Oliver's wagon? Eduard Mohr (1828-1876), a wealthy German trader, ship owner, and explorer visited Natal in 1866. On a second trip in early 1869 he met Karl Mauch, who had discovered gold north of the Limpopo and Friedrich Adolph Huebner, a mining engineer who joined him on an expedition. Mohr met Thomas Baines in November 1868 when they embarked from London on the Asia to sail to Natal and in 1869 he renewed his acquaintance with Baines. Both men were heading north, Mohr to the goldfields and Victoria Falls, while Baines was leading an expedition to Matabeleland on behalf of the South African Gold Fields Exploration Company. The men outspanned next to each other in Pietermaritzburg, met again by the Tugela river, and Baines outspanned next to the German wagons in Potchefstroom. Baines and Mohr shared interests in zoology, astronomy and cartography; in Potchefstroom they worked together taking longitudinal readings. Importantly, Mohr commissioned Baines to produce scenes to illustrate his travels (Northern Goldfields Diaries, v.1, p.3). Baines immediately painted the Potchefstroom encampment and explains contractual details in his diary. Mohr and Baines spent more time together at Lee's farm at Mangwe river near the Tati goldfields. Mohr commissioned additional paintings from Baines, including the Pietermaritzburg encampment scene, which Baines painted in 1870 (Carruthers and Arnold, 1995, Ch. 11, figure 7). Mohr left for the Victoria Falls on November 26 and on Monday 29 Baines noted: 'Commenced a picture of the Victoria Falls for Mr. Mohr', presumably the Eastern cataracts canvas (Diary, v. 1, p.231). On 12 December Mohr, unable to proceed on his journey owing to heavy rains, arrived back at Mangwe. Two days later Baines wrote that Mohr had offered to extend his commission 'so as to make it in all £100' (Diary, v. 1, p.235). Clearly Mohr was an important patron and friend.Baines's diary entry for 14 December (p.236) describes his preliminary sketch for the Pietermaritzburg encampment painting and continues, 'I also succeeded in completing the picture of th... 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 63
Aime Mpane (Democratic Republic of Congo, born 1968)A portrait of Marie-Pierre Ntiba Kawa signed and dated 'A. Mpane '94' (lower right)oil on canvas with burlap applique80.5 x 59.5cm (31 11/16 x 23 7/16in).Footnotes:PRovenance:The collection of Marie-Pierre Ntiba Kawa;By direct descent.Marie-Pierre Ntiba Kawa was a well-known figure in the Congolese community in Belgium. She hosted the artist on arriving in Brussels in the 1990s when he was studying for his master's degree at La Cambre. The artist has depicted Marie-Pierre in the rural context of an African woman carrying firewood to celebrate the critical role that women play in keeping the fire alive in their households. The artwork was discovered in an unopened crate by Marie-Pierre's only surviving kin in 2020.For further information on this lot please visit Bonhams.com
Los 9
William Joseph Kentridge (South African, born 1955)Homecoming signed and dated 'Kentridge '(19)86 15/6' (lower left)charcoal91 x 63.5cm (35 13/16 x 25in).Footnotes:ProvenanceAcquired from Cassirer Fine Art, 'William Kentridge', Johannesburg, 1988;A private collection.Kentridge has described his work as 'a portrait of Johannesburg'. However, it is the psychological landscape of South Africa that truly interests him. The social upheaval, racial injustice, and violence that characterised apartheid is reflected in his creative process. Kentridge's works in charcoal are created by 'partial erasure', a process in which parts of one drawing are rubbed out and the next drawing is begun over the top of the remnants. This erasure alludes to the way in which the authorities have selectively 'disremembered' the atrocities that have been visited upon sections of South African society throughout modern history.'I have never tried to make illustrations of apartheid, but the drawings are certainly spawned by and feed off the brutalized society left in its wake. I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures and uncertain things. An art (and a politics) in which my optimism is kept in check and my nihilism at bay.' (Kentridge)In this charcoal drawing, Homecoming, fragmented images are layered one on top of the other. In the background, a built up street with derelict looking buildings recedes into the distance. In the foreground, a man embraces a cheetah, whilst the naked figure to the right turns away from us. The shadowy and indistinct scene is more of a dreamscape, than any recognizable location.Curator, Carlyn Christov-Barkargiev, describes Kentridge's work as an 'elegiac art that explores the possibility of poetry in contemporary society, and provides a powerful satirical commentary on that society, while proposing a way of seeing life as a continuous process of change rather than a controlled world of facts'.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 108
NASA and Bill TaubA group of four photographs, comprising:1) A portrait of Apollo 7 prime crew after an emergency egress test9 September 1968Vintage gelatin silver print on fibre-based paper, 20.4 x 25.6 cm (8 x 10 in), NASA photo no 68-H-525, with NASA caption on the verso2) The lift off of Apollo 7 spacecraft11 October 1968Vintage gelatin silver print on fibre-based paper, 20.4 x 25.6 cm (8 x 10 in), with NASA HQ caption and Photri Inc stamps affixed to the verso3) Walter Schirra greets Wernher von Braun during a pre-launch mission briefing10 October 1968Vintage gelatin silver print on fibre-based paper, 25.5 x 20.6 cm (10 x 8 in), NASA photo no 68-H-921, with NASA Kennedy Space Center caption on the verso4) (Bill Taub) Mission Control during a countdown demonstration test16 September 1968Vintage gelatin silver print on fibre-based paper, 25.5 x 20.6 cm (10 x 8 in), NASA photo no 107-KSC-368, with NASA Kennedy Space Center caption on the verso
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283287 Los(e)/Seite