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283284 Los(e)/Seite
Los 377
A GEORGE I MOUNTED TORTOISESHELL SNUFF BOX of rectangular outline with a stand-away hinge & a reeded border, the cover inset with a later medal depicting a classical portrait bust of Sir Joshua Reynolds, the box unmarked, c.1720; 3.2" (8 cms) long *The medal by John Kirk is dated 1773, the year Reynolds was elected Mayor of Plymouth, the reverse depicting the personification of Art, at an easel, painting a portrait within the legend "President of the Royal Academy".
Los 471
SIR WILLIAM JOHN NEWTON (1785-1869)* Miniature portrait of Lady Martins standing in an interior holding her son on the arm of a sofa, on ivory, signed and inscribed on reverse, dated 1839; 17.5 x 13 cms, together with a companion portrait, presumably of her husband, three quarter length, pair in black wood frames *Appointed Miniature Painter in Ordinary to the King and Queen in 1833.
Los 51
A George IV plaster portrait plaque of Johann Heinrich Pestalozzi (1746-1827) by Del Vecchio, dated 1824Provenance - The Pestalozzi International Foundation collection of Tibetan thangkas, Buddhist figures and ritual objects. In 1947, the British Pestalozzi Children's Village association was founded by Dr Henry Alexander - a German, Jewish, refugee who moved to the UK before the Second World War - and Mrs Mary Buchanan - a British sociologist. In 1959 the organisation opened a 170 acre property in Sedlescombe, East Sussex to house and educate children from displaced persons camps in Europe at the end of World War II.In 1963, twenty-two Tibetan students, along with their house parents, arrived at the village. In 1967/68 saw the last of the European students at Pestalozzi and from that point students from Tibet, India and Nepal - amongst other countries - began to arrive. The Tibetan children and their house parents rescued Buddhist thangkas (paintings) and relics from the local temples during the upheavals of the 1960s which are included in this sale. The collection also includes Buddhist figures of deities from China, Burma and Thailand. The funds raised will help Pestalozzi to continue to offer educational scholarships to children from under-privileged countries.
Los 330
Leonard Tshehla Mohapi Matsoso (South African 1949 - ) PORTRAIT OF A WOMAN signed and dated '88 crayon on paper 31,5 by 24cmMatsoso, born in Pimville (1949) is a South African artist with an enigmatic presence. He is a painter and graphic artist known best for his monochromatic paintings of the early 1970’s. Matsoso has exhibited across South Africa, Brazil, Greece, Australia and most notably at the Sao Paulo Biennale in 1973 and 1979. Portrait of a Woman (dated 1988) forms part of his later work and is imbued with various colours. By combining different archetypal elements Matsoso creates lines and form that overlap to create a hybrid image of a woman. The work is almost architectural, with traditional dress draping over the woman to create an abstract incarnation of the human form. - Jamie Lee Money
Los 462
Sue (Susan Mary) Williamson (South African 1941-) MIRIAM MAKEBA, from A FEW SOUTH AFRICANS signed, dated and editioned 23/35 in pencil in the margin photoetching, silkscreen and collage on paper sheet size: 80 by 61cm Sue Williamson is a renowned figure in the South African and international art scene, and has exhibited in multiple institutions, biennales and solo shows across the world. Her work, spanning across many media, has most recently been featured at the Zeitz MOCAA, Cape Town, The National Museum for Women in the Arts, USA, and the Kochi Biennale, India1. ‘A Few South Africans’ (1983-88) is a series which the artist notes, “attempted to make visible the history of women involved in the struggle for freedom [against apartheid]... The work asks questions about civic (and representational) duty and memorialisation.†Wiliamson continues, “An important part of the history of this series is that they were printed as postcards, in order to make the images widely accessible to the general public.â€2 This lot features a portrait of Mariam Makeba. The Johannesburg songstress was banned from South Africa in 1960 and her passport withdrawn when she provided the United Nations with evidence against the oppression occurring in South Africa3. Annie Salinga, whose portrait by Williamson is featured in an additional lot, is accompanied by a poster-size autobiographical text. The statement frames Salinga as a staunch activist who vowed never to use an apartheid-issued identity pass (or ‘dompas’) which would dictate where she could live and work. The central portrait is a photo-etching, alongside other techniques such as aquatint and hardground. Some of the imagery on the printed frames is derived from African textiles with additional smaller images added. 1 Goodman Gallery, “Sue Williamson.†2 Goodman Gallery, “Sue Williamson (A Few South Africans artist statement).†3 Sue-Williamson.com, “Miriam Makeba – A Few South Africans.- LD
Los 505
Lady Anne Barnard (British 1750-1825) KHOI WOMAN provenance and artist's name inscribed on the reverse watercolour on paper 20,5 by 16,5cmIt is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots 505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts. Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape. The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive. Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes. The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library) and others for their inspirational information, ideas and assistance with the presentation of Lady Anne Barnard’s watercolours.
Los 506
Lady Anne Barnard (British 1750-1825) BLACK MADONNA provenance and artist's name inscribed on the reverse watercolour on paper 18 by 14cm It is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots 505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts. Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape. The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive. Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes. The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library) and others for their inspirational information, ideas and assistance with the presentation of Lady Anne Barnard’s watercolours.
Los 511
Gerard Sekoto (South African 1913-1993) HEAD OF AN AFRICAN WOMAN signed and dated 68; label adhered to the reverse inscribed with the title and 'Maximum Fund Trust' oil on canvas laid down on board 59 by 48cm In 1947, Sekoto travelled to Paris to further his studies, he remained in exile for many years, mainly living in Paris. Sekoto attended the Académie Populaire d’Arts Plastiques in Paris from 1963 – 1965. Many of Sekoto’s works from his time in Paris evidence a concern with formal elements, influenced by his fellow students, who were exhibiting their work in Paris at the time. During his time in South Africa, Sekoto tended towards simplifying the facial features of his subjects, positioning them in stances where their faces were streamlined almost to the point of abstraction. This inclination increased during his time away from South Africa. This preference altered from 1963 to the mid-1970’s, when Sekoto repeatedly painted what became known as his ‘blue heads’, a series of busts primarily of women, most frequently with the use of a blue palette. Unlike his previous portrait studies, these busts did not rely on the direct observation of a sitter. In all of the blue head paintings, Sekoto loaded his brush and applied the paint in broad, flat strokes. Mostly, the composition is cropped just above the subject’s head and just below the collar bone, the neck elongated. Unlike his more typical busts, Head of an African Woman contains fewer contrasting colours and highlights. Rather than the white, beige and occasionally yellow highlights found on other busts, the highlights in Head of an African Woman, are subtler, and the artist has incorporated softer blues. The red umber and burnt sienna that Sekoto seemingly used straight out of the paint tube in other blue head paintings, are almost entirely absent here apart from a few select strokes on the headdress. Most of his busts share the same pose, where the subject faces the viewer directly, their eyes either directly connecting with the viewer, or cast downwards Many of the blue heads were produced around 1963, while Head of an African Woman is signed 1968. The subject in this painting wears a headscarf which adds height to her head. The headscarf is undetailed, painted with expressive brushstrokes, giving it the appearance of a headdress. She wears hanging earrings and her eyes connect directly with the viewer, although the slight hoods of her eyes give her otherwise confrontational expression, a demure quality. The vertical brushstrokes of navy paint emphasise her strength, and form a pleasing geometry with the triangular sloping of her elegant neck and sharp collarbones. Head of an African Woman portrays a regal quality in the sitter that other blue busts do not possess. In 1960, before he began painting his first blue heads, Sekoto produced a ballpoint pen on paper sketch of Miriam Makeba which he inscribed with the title Inspiration - Miriam Makeba. Makeba was known at the time as the ‘Queen of African song’ due to the inspiration she drew from the music of South Africa and other African countries. The songstress went into exile in 1959 and was accepted as an African icon by both those living in South Africa and those also in exile. In 1960, when the drawing was created, Makeba had just arrived in New York to much acclaim and photographs of her had featured on the cover of Time magazine. The pen drawing of Miriam Makeba features the same composition as Sekoto’s blue heads, with the singer directly facing outwards, the head cropped closely to the frame. It is possible that Sekoto’s pen drawing of Miriam Makeba, produced in 1960, may have been the inspiration for his blue head paintings of African women, which he began painting around 1963. It must be noted that some of the blue heads also resembled portraits that the artist made of his mother. Sekoto wrote of his practice of painting the blue heads that he wanted to express the beauty of the women of his own race, as opposed to the white female beauties that he felt were so abundantly portrayed by artists throughout history. Lindop, B. Sekoto: The Art of Gerard Sekoto. Great Britain: 1995. Johannesburg Art Gallery: Gerard Sekoto: Unsevered Ties. Johannesburg: 1989 -SD
Los 532
A VICTORIAN TURQUOISE AND SEED PEARL LOCKET PENDANT Oval, the hinged cover applied with a navette-shaped motif embellished with circular turquoise cabochons and seed pearls, the reverse vacant, opening to reveal two glazed portrait compartments, acid tested as 14ct gold, approximately 46mm in length
Los 411
* AUGUSTUS JOHN OM RA (BRITISH 1878 - 1961), THE PORTRAIT OF SUNITA oil on canvas, signed 53.5cm x 43cm Framed and under glass. Note: This lot is accompanied by a hand written letter of authentication (dated 4th March 2019) from Rebecca John, artist, grand-daughter of Augustus John and the leading authority on the work of her grandfather. Inscribed on canvas verso: "Property of Sophie Fedorovitch, 22 Bury Walk, Chelsea SW3, London". Sophie Fedorovitch was a Russian born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. Fedorovitch died in a gas explosion at her home (known as "the Gothic Box") at 22 Bury Walk on 25th January 1953. Two old printed labels verso, one explaining the background to the portrait and the other stating the picture to be "Property of Mary Smeaton or Scott". Augustus John became acquainted with Jacob Epstein at the New English Art Club after Epstein moved from Paris to London. He produced several drawings of Epstein and two etchings. Epstein later modelled a bronze head of John’s son Romily, which is part of the Garman Ryan Collection followed by a stone version and a Bronze head of Augustus in 1916. Although the two artists encouraged each other, they had a prickly friendship which animated their portraits of each other. This was probably further exacerbated by John’s reputation of having a fiery and rebellious temperament, prone to violent mood swings. Augustus John lead a notoriously promiscuous lifestyle and "fathered numerous children with nearly as many different mothers". "Sunita" was originally from Kashmir, a Muslim who married Ahmed Peerbhoy, a millionaire of Bombay, but sometime in the early 1920s she came to England with her son Enver and younger sister Anita Patel. The sisters joined a troupe of magicians known as the Maysculine Brothers. Sunita developed a persona as an Indian mystic and fortune teller and became widely known as Princess Sunita. Jacob Epstein may have met Sunita at the British Empire Exhibition, where the exotic foreign displays intrigued him, or possibly through his friend Matthew Smith (1879 - 1959). In 1925 Epstein invited Sunita, Enver and Anita to live at his home at Guilford Street in London with the full agreement of his wife Margaret. Mrs Epstein was trying to end her husband's affair with Kathleen Garman by encouraging him into affairs with other women. Sunita had become Epstein's favourite model and she posed, often alone but sometimes with her son, for numerous drawings and sculptures by Epstein until 1931. Jacob Epstein was apparently furious that John had encouraged "Sunita" to sit for a portrait and when John told him that he wanted Sunita to sit for him again, Epstein refused to allow it. "Augustus was celebrated first for his brilliant figure drawings, and then for a new technique of oil sketching. His work was favourably compared in London with that of Gauguin and Matisse. He then developed a style of portraiture that was imaginative and often extravagant, catching an instantaneous attitude in his subjects."
Los 403
MANNER OF F. BUCK (c.1820)Miniature portrait of a man in a blue coat Watercolour on ivory, 6 x 5cmWith plated hair and seed pearls verso ** Please note that this lot contains ivory and is subject to CITES regulations when exporting outside of the EU. The United States Government has banned the import of ivory into the USA.**
Los 404
MANNER OF F. BUCK (c.1820)Miniature portrait of a young man in grey coat Watercolour on ivory, 6 x 5cmWith plaited hair on reverse ** Please note that this lot contains ivory and is subject to CITES regulations when exporting outside of the EU. The United States Government has banned the import of ivory into the USA.**
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