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283284 Los(e)/Seite
Los 1325
Lemuel Francis Abbott (British, 1760-1803), portrait of Sir George Cockburn (1764-1847), oil on canvas, 76 x 62cm.Provenance: with Andrew Caldwell (1733-1808), guardian to Cockburn; given to Elizabeth Jane Meredith, nee Riall (1835-1927), daughter of General Phineas Riall (1775-1850), thence by descent to the current owner.
Los 1321
Attributed to Gilbert Stuart Newton RA (British, 1795-1835), portrait of Lady Sophia Wood (1795-1835), oil on canvas, unsigned, 75 x 63cm, in a gilt foliate frame. Condition Report: Extensive wear to the picture, including craquelure, fading and some loss, especially around the top of the canvas where there appears to be bitumen damage. The gilt frame is very worn and faded.
Los 3314
Autogramm Oskar Kokoschkas (1886 Pöchlarn - Montreux 1980) "Für Wolfgang Reck (?), freundliche Grüsse vom viel beanspruchten Oskar Kokoschka, Villeneuve, Vaud, 1958", so mit Feder bez. und sign. unterhalb von Schwarzweiß-Portrait des Künstlers. Papier mit Montagespuren, l. gebräunt und min. Knicke. 29,5x 21 cm.
Los 4019
Seele, Johann Baptist (1774 Meßkirch - Stuttgart 1814) Portrait einer Dame des Empire auf einem Directoirestuhl, im weißen Kleid mit Haube. Öl/Lwd. (besch.), li. u. sign. und dat. 1801. 74,5x 61 cm. In Empire-Leiste (best.), um 1800. Ein ähnliches Bild befindet sich in der Staatsgalerie Stuttgart bzw. Abb. Tafel 14 bei Hermann Mildenbeger "Der Maler Johann Baptist Seele", Nr. 77 mit gleicher Entstehungszeit von 1800/1802.
Los 525
Zwei Wandteller, Delft. Fayence. Je mit vollflächiger Bemalung in Unterglasurblau. Einmal Portrait Rembrandts mit Lebensdaten und einmal Portrait nach Rembrandt (dieser Teller mit herstellungsbedingten Glasurfehlern). Pinselmarke De Porceleyne Fles, 1x mit Blindprägung JOOST THOOFT & LABOUCHERE, dieser Teller 2. Wahl. 1. Hälfte 20. Jh. D. 41 cm.
Los 64
Kudzanai Chiurai (Zimbabwean, born 1981)End the Silence signed and dated 'Kudzi 2005' (lower right)oil, acrylic and spray paint on panel230 x 100cm (90 9/16 x 39 3/8in).(framed)Footnotes:ExhibitedJohannesburg, Obert Contemporary, 'Y Propaganda', May 2005.ProvenancePurchased from the Obert Gallery, South Africa; A private collection.The present work was completed by the artist in 2005 and exhibited at the Obert Contemporary Galley in the same year in the 2005 'Propaganda' exhibition. Believed to be a self portrait yet with the full identity of the subject concealed given the addition of a face mask and hat, End the Silence displays Kudzanai Chiurai's social political views, but also the tribulations the artist has personally experienced in his career and notions of identity.Chiurai examines different methods and disciplines when reflecting themes of politics, economics, psychology and philosophy. Born into a political climate of a newly independent Zimbabwe, however, upon criticising the Zimbabwean government in a series of paintings in 2008, the artist self- exiled himself to South Africa. It could be said that the present work, although preluding this break from Zimbabwe, acts as early evidence the artist's desire for free speech and also his view that he would not be granted it.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 25
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Olokun Dancers signed and dated 'BEN ENWONWU/ ILE-IFE 1974' (lower right)oil on canvas 67.5 x 47.3cm (26 9/16 x 18 5/8in).(framed)Footnotes:ProvenanceA private collection.LiteratureOgbechie, S. O., 'Portrait of an Artist: The Queen to Sit for Ben Enwonwu', Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 2008), p. 128.In response to the romanticised account written by Geoffrey Gorer in his book Africa Dances published in 1935, Benedict Enwonwu concluded that, although Gorer's account critiques colonial rule, very little was in fact understood about the role dancing had in ritualistic performances. It was this travelogue that prompted Enwonwu's African Dances series, beginning in the 1940's, which aimed to evoke and emphasise the conceptual symbolism of dance forms, movement and cultural identity. Completed in 1974 at a time when the artist was generating a large number of paintings for the series, Enwonwu was also serving as a Professor of Fine Arts at the University of Ife between 1971 and 1975. It was during this period, S.Ogbechie observes, that the Africa Dances series took a direction that pointed away from more literal representations affiliated with his 1940's work. More informed by the Negritude ideology and during a period where subject use of the female figure took a front seat in Enwonwu's work, the series took a more conceptual angle, away from naturalistic notions of dance. It was Enwonwu's opinion, Ogbechie writes, that female representations in his work were displays of idealisation within African culture. During this time period, Enwonwu met the granddaughter of the former Ooni (king) of Ife, Adetutu Ademiluyi and would complete the first of his monumental Tutu works, completed in 1973. As perhaps a continuation of using the female form as ideological figures of power, the present work was completed only the following year from the Tutu series.'In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation- a people!'The present work is unique in composition in comparison to other works of the 'Africa Dances' series as the posture of the women is hunched over, contrasting the more fluid and open postures of dancing women in works preceding it such as Africa Dances (1973). This comparison allows us to identify the dance presented as 'Olokun'. Enwonwu would, on occasion, visit the Ori Olokun Performing Arts Centre in Ife which was co-founded by Peggy Harper, a choreographer who studied and championed traditional forms of Nigerian dance. Indeed, the date of the present work and the Ife clothes the dancers are wearing, suggests that this painting may well have been completed at Ori Olokun Performing Arts Centre.Resonating with the compositional approach that Enwonwu had used in earlier works of his Africa Dances series in terms of mirroring and repetition of the figures in this present work. While the figural repetition may be literal to the dance being depicted, it could also be a technique given by the artist to imbue a sense of movement throughout the work, contributing to a sense of rapid motion. The use of repetition is thematic of the artist's wider oeuvre and can also be seen in his Negritude series, the subjects of which, while more metaphysically conceptual given the exaggerated curvature of the forms, are rhythmic in depiction due to this similar echoing technique.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 2008)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 46
Irma Stern (South African, 1894-1966)Girl with Jug signed and dated 'Irma Stern/ 1961' (lower left)oil on canvas 72 x 53cm (28 3/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private UK collection. The present work displaying a girl holding a ceramic jug was executed by the artist following her travels to Spain in 1960. With an interest in ceramics, often incorporating them into still lifes and creating physical pottery herself, we a presented here with a beautiful fusion of this passion with her captivating portraiture. Accomplished with a muted tonal palette, Stern draws us into the intimacy of the portrait with a focus on the subject who gazes back at us. After receiving the Guggenheim Foundation National Award for South Africa in 1960, the present work was painted at a time when the artist had received great recognition for her work. Furthermore, upon arriving in Alicante on Spain's Costa Blanca between December 1960 and June 1961 with her companion Dudley Welch, she was affectionately acknowledged by the local Alicante press as 'La Picasso'. This was not only due to her profession, but also the extravagance of the hotel, Hotel Carlton, as recorded in a letter to Richard and Freda Feldman (February 1961). Indeed, to be linked to Picasso during these years was received by the artist with great honour, as Picasso was already, by the 1960's, acknowledged as one of the greatest artists of the century.BibliographySandra Klopper, Irma Stern: Are You Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), p. 207.For further information on this lot please visit Bonhams.com
Los 40
Irma Stern (South African, 1894-1966)Meinkie with Pumpkin signed and dated 'Irma Stern/ 1948' (upper left)oil on canvas56.7 x 48.9cm (22 5/16 x 19 1/4in).(framed)Footnotes:ProvenanceA private collection, USA.ExhibitedCape Town, Burg Street, Association of Arts Gallery, 8-20 March 1948, no 6.In her exhibition at the Association of Arts Gallery, Burg Street, Cape Town, 8 – 20 March 1948, Irma Stern included two paintings of a certain Meinkie, both priced at the relatively low sum of 90 guineas. #25 is simply called Meinkie in the exhibition list. But #6 is called Meinkie with Pumpkin which obviously refers to the present work. Confirmation that this work indeed formed part of this show is to be found in a photograph in Irma Stern's Scrapbook of the exhibition installation in which it is shown on the back wall. Much of the March exhibition, including Meinkie, now #17, was shown again at the Constantia Gallery, Johannesburg, in April 1948. Although there is no record of sales from the Association of Arts exhibition in Irma Stern's Cashbook, the absence of Meinkie with Pumpkin from this later exhibition suggests that the painting was sold at or soon after the original Cape Town show. The present owner, who is American, recalls that his late father acquired the painting on a business trip to South Africa. Given the nationality of the purchaser, it is probably no coincidence that, as the Cape Times reported on March 20 1948, Irma Stern believed at this precise time she would soon have an exhibition in New York City. The artist's Cashbook records that the second Meinkie painting was sold by the Constantia Gallery in April 1948 at the reduced sum of £80: this work appeared on the Cape Town art market in November 2015. The name Meinke (diminutive Meinkie) was sometimes used by German-speaking South Africans to describe Dutch or Afrikaans-speaking women of exceptional courage. The name, therefore, may have been Stern's nickname for a person of colour from District 6 or Bo-Kaap. The name appears twice in Stern's correspondence with her Johannesburg friends, the Feldmans, both times in relation to her dismissal from Stern's service towards the end of 1956, together with Charlie, Stern's long-suffering cook. At this time, therefore, Meinkie was Stern's domestic worker rather than a professional model. In fact, Stern's Cashbook records no payment to Meinkie as a model at any time between 1948, when the two Meinkie paintings were made, and 1956 when she was sacked. Such payment may have been concealed in the substantial figure of £20 in January 1947 for 'modelles Malay and Indian', but it is more likely that Stern simply called Meinkie to her studio as part of her job. Shortly before the Meinkie paintings were made Thelma Gutsche wrote about 'those conspicuously indigenous groups, the Malays and Cape Coloured' who 'drift inconsequently among her household'. And the fluidity of roles in Stern's ménage is confirmed in a report in the Cape Argus 12 March 1955:'Irma Stern has been keeping Asa, the pretty Malay housemaid, from her brooms and dusters and letting her pose for a portrait in a graceful white yashmak.'Strictly speaking, neither the painting of Asa, nor those of Meinkie, were actually portraits in the sense that they were commissioned by the sitter or that the sitter had any interest at all in the outcome. They are studies in which the artist imposed her aesthetic and social concerns on the sitter for her own benefit and that of her privileged white clientele. At this time, Stern made several studies of what Thelma Gutsche called 'quite unpicturesque types' seemingly in response to growing criticism that her paintings of African people were idealised and unreal. Stern's decision to paint Meinkie either peeling vegetables or clasping a pumpkin invites consideration of the nature of domestic work - perhaps servitude - which thought may be found in the expression and attitude of the subject in both paintings. An anonymous reviewer of the Cape Town exhibition in the Cape Argus March 8, 1948, remarked that a loose, painterly style, and a resonant colour palette is appropriate to such interpretation, and continued:'It would be absurd to demand precision from a volcano; and if Miss Stern chooses on occasion to subordinate intellect to emotion, and the sensitive to the spontaneous, the dynamic quality of her work is a triumphant vindication of such a choice.'We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographySandra Klopper, Irma Stern - Are you Still Alive? Stern's Life and Art seen through her Letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp.183 and 185.Thelma Gutsche, Ph.D, 'Irma Stern – Ambassador for Africa', The Outspan, October 31 1947, pp.39-41.Irma Stern's Cashbook, National Library of South Africa, Cape Town, MSC 31, 3.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 50
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Portrait of a Girl signed and dated 'BE/92' (lower right)oil on canvas47.5 x 33.5cm (18 11/16 x 13 3/16in).(framed)Footnotes:Informed by the Negritude ideology, Portrait of a Girl, from subject matter to painterly execution, exemplifies the artist's hope for the future of his culture. This was to transcend from any colonial interruption within his contemporary practice in order to exemplify modern life while being aware of his traditional roots. This movement sought to diminish colonial interjection within the art that black Nigerian artists were creating, reclaiming a sense of pride in Nigerian artist's cultural history, such as Enwonwu. Leopold Senghor had spearheaded this movement with the strong belief that it was imperative for black culture to recover the cultural pride that colonialism had attempted to stamp out. By emphasising the heritage of back intellectual's and calling for an acknowledgment or incorporation into their work, whether that be in literacy or artistic practise.Following his formal artistic training in Europe, attending the Slade School of Fine Art in 1945, some of the artists early works employed the traditional Western techniques of portrait painting. While it could be said that this work possesses elements of this formal training and European modernism, the Negritude ideology and aesthetic is also firmly present within the work. In the faded background figures, and the removal of detailed eyes, presenting the subject with a level of anonymity, the current work grants the viewer with a rhetoric of the Negritude ideology. This later work steps away from any rigidity that had characterised some of his earlier works that were more directly informed by Western portraiture techniques, framing the girl in the foreground of a background of movement. Towards the end of his life, Enwonwu turned to informal and quickly completed works, perhaps drawing inspiration from more domesticated scenes. The present work could have been a child of his family members or house staff's children due to their domestically informal attire. Painted two years before the artists death, the present work gives a sense of the artist's hopes for the future and a stamp of his identity he has carved out in art history.BibliographyA Celebration of Excellence: Ben Enwonwu 1921 - 1994, (The Ben Enwonwu Foundation, 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 18
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Blind Minstrel inscribed, signed, titled and dated '15/BLIND MINSTREL/OIL ON BOARD/by/Y. GRILLO/ 1966' (verso)oil on board90 x 53.5cm (35 7/16 x 21 1/16in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. ExhibitedLagos, Goethe-Institute, (9-31 December 1966), 15.London, Commonwealth Institute Art Gallery, Contemporary Nigerian Art, (20th June - 21st July 1968), 62.LiteratureIkpakronyi, Simon O., Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006), pp. 65-66. (illustrated)Commonwealth Institute Art Gallery, Contemporary Nigerian Art, An exhibition assembled by the Society of Nigerian Artists, (London: Commonwealth Institute Art Gallery, 1968) (illustrated) Simon O. Ikpakronyi identifies the subject of this work as 'Kokoro', a blind musician who became well known in Lagos. Ikpakronyi documents him as travelling around neighbourhoods, knocking on doors and collecting money. With some people paying him lots of money in order to support him, it can be concluded that Kokoro became a familiar face of the community. Remembered today in music circles Kokoro, who became blind from the age of 10, left a legacy in Yoruba music circles, particularly for being an early pioneer for juju, a popular music genre, singing about urban life, love, poverty, and conflict.It could be concluded that, in line with the artist's own love of music and interest in musical instruments, Grillo saw KoKoro as an appropriate subject given his fascination with social documentation, as he said:'I used to go close, watch and join the music, look at the dancers and join them too. They made a very, very strong impression, an indelible impression. And what interests me most is what the drummers do when they are not actually playing. That is, when they have an interval at which time they try to re-tune their instruments, that is, the drum skins, which they place over a small fire. They wold get some rough paper together, light it and place the drum over it so that the skin would be taut. The fact is that when they have been drumming, the skin goes a little slack, so the sound is not what it should be. Hence, they do all that just to warm it and make it taut, to bring back the desired sound. These are some of the things in traditional drumming that interest me most.' (Professor Yusuf Grillo, 13th November 2005). Indeed, the role of the male drummer is a recurring theme within the artist's work as seen in 'Drummers and Dancers' 1964, throughout his career to Lead Drummer (2003-09). In respect to the prior mentioned paintings, a commonality is detectable within these works in that the drummers are usually male figures in groups. Thus, the present work is rare example under this subject matter as it is a portrait of a strikingly identifiable character within the artist's body of work. Grillo's seemingly preferential use of the drum above other instruments may be due to its rhythmic interplay as with Yoruba language, hence why the traditional drum iya ilu translates to the 'talking drum'. Therefore, the artist's patronage to his Yoruba heritage may also indicate his desire to include a musical and performative element of specifically the drum to this work. Furthermore, in keeping with the iconic blue palette that distinguishes the artist from his contemporaries, Blind Minstrel holds a prominent and important position in the artist's oeuvre. A fantastic example of his geometrically compositional works, where by planes of blue hues assemble to create an image, the present work is indicative of the dynamism that is catalysed by Grillo's love of mathematics and art. BibliographySimon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)Toyin Falola, Culture and customs of Nigeria, (London: Greenwood Press, 2001)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 3
Zanele Muholi (South African, born 1972)Ngizwile, 2021 signed, titled and dated 'Zanele Muholi/ Ngizwile/ 2021/ 120x180cm/ ZM' (verso)acrylic on canvas 180 x 120cm (70 7/8 x 47 1/4in).(unframed)Footnotes:ProvenanceAcquired directly from the artist's studio;A private collection.In an exciting evolution from their iconic series of photographs, the present work by Zanele Muholi displays another side to the artist's dynamic and endless creativity. As a visual activist, championing black and LGBTQIA+ lives and voices, key themes of the artist's life and work embody power, reclaim, and presence. This is clearly supported in Muholi's artistic and business life, founding the Inkanyiso media forum and creating dynamic works of art championing the existence of their community.Ngizwile, 2021 displays a large-scale portrait, coherent to the monochromatic tendencies of the artist's photographs, yet decidedly different given the red paint use on the ambiguously gendered subject's eyes. The free brushstrokes allow a vivacious freedom and movement in the work, providing us with a near metaphysical presentation of the subject. Created during the Covid-19 pandemic, it could be argued that this painting characterises the fear and isolation felt by many. In the same way that the artist responds to discrimination of the marginalised communities in their oeuvre, the present work displays their response to navigating the complexities and challenges faced by society in the new world that the pandemic has created.For further information on this lot please visit Bonhams.com
Los 164
Carel Weight R.A. (British, 1908-1997)Portrait of Sarah signed 'Carel Weight' (lower left)oil on canvas71 x 55.5cm (27 15/16 x 21 7/8in).Painted in 1980Footnotes:ProvenanceSale; Christie's, London, 22 November 2002, lot 113A portrait by the Artist of the same sitter from 1980 was exhibited at London, Royal Academy of Arts, Summer Exhibition, 31 May-24 August 1980, no. 104This 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 122
Austin Osman Spare (British, 1886-1956)Man from the Meat Market with Bowtie and Top Hat signed with initials 'AOS' (upper left), dated '1953' (upper right) and indistinctly inscribed (lower left and lower right)chalk on paper40.5 x 35.5cm (15 15/16 x 14in).Footnotes:ProvenanceSale; Christie's, South Kensington, 27 April 1995, lot 160Alan Michael HarrisBetween 1947–1956, Spare became a regular visitor for many of the pubs and taverns in and around his native Kennington. A long-time critic of the margins charged by fine art galleries; Spare approached local landlords to allow him to exhibit his work on the walls of their premises. In this way, the Artist became something of a celebrity among the working-class regulars who enjoyed his good humour. This portrait was possibly exhibited at the White Bear Tavern, Kennington, between 19 November–19 December 1953. In a press photograph we see Spare drinking beer with his little finger raised—a joke at the expense of his well-dressed companion, possibly the auctioneer, Alfred H. Harris, and likely subject of the present lot. We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 140
Augustus Edwin John O.M., R.A. (British, 1878-1961)Portrait of a Lady signed 'John' (lower right)pencil on paper41 x 24.5cm (16 1/8 x 9 5/8in).Footnotes:ProvenanceProfessor BodkinWith Thomas Agnew & Sons Ltd, London, where acquired by the present owner, August 1974Private Collection, U.K.ExhibitedLondon, National Gallery, Exhibition of 20th Century British Paintings, 1940, no. 304 (catalogue not traced)We are grateful to Rebecca John for her assistance in cataloguing this lot.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 143
Sir Jacob Epstein (British, 1880-1959)First Portrait of Deirdre (with Arms) signed 'Epstein' (to lower back)bronze with a green patina57cm (22 7/16in) high (excluding base); 153.5cm (60 7/16in) high (including base)Conceived in 1941Footnotes:LiteratureR. Buckle, Jacob Epstein Sculptor, The World Publishing Company, Cleveland, 1963, p. 189, pls. 401-402, illustrated (another cast)J. Epstein, Let There Be Sculpture, Hulton, London, 1955, p. 126-127E.P. Schinman and B.A. Schinman, Jacob Epstein, A Catalogue of the Collection of Edward P. Schinman, Farleight Dickinson University Press, New Jersey, 1970, p. 106, illustrated (another cast)This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 115
Austin Osman Spare (British, 1886-1956)Nemesis signed with initials and titled 'Nemesis/A.O.S.' (on card verso)pencil and chalk on paper, laid on thick card53 x 38cm (20 7/8 x 14 15/16in).Footnotes:ProvenanceDr Thomas W. Lumsden (1874–1953), probably acquired directly from the ArtistAlan Michael HarrisLiteratureForm: A Quarterly of the Arts, vol. 1, no. 1, John Lane, London, April 1916, pp. 50–51As the First World War progressed, Spare faced the prospect of enlistment, even though he hoped his profession as editor would prove him exempt. When his service papers finally arrived in late 1916, his friend Dr Thomas Lumsden intervened, citing Spare's frequent ill-health as grounds that he was unfit to serve. However, Spare was conscripted to the R.A.M.C. on 25 May 1917, and his official documents reveal a nervous signature. In this work, we see a vacant-eyed self-portrait to the lower left.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 121
Austin Osman Spare (British, 1886-1956)Portrait of Charlotte Elizabeth Newman signed with initials, dated and inscribed 'AOS PXT.1934' (lower left), further signed with initials 'AOS' (lower centre)chalk on paper, laid on card45 x 31cm (17 11/16 x 12 3/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly byCharlotte Elizabeth Newman (1896–1999)Alan Michael HarrisCharlotte Elizabeth Newman (1896–1999) and her elder brother, Richard Thomas Newman (1886–1962), were born in London, and like Spare, lived south of the river for most of their lives. It is likely the Newman family encountered Spare in the early 1930s, as the majority works they acquired date from this period. We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 161
Robert O. Lenkiewicz (British, 1941-2002)Self Portrait in Private Studio signed, titled and inscribed 'Self-Portrait in/Private Studio/R.O. Lenkiewicz/Non Project Piece' (on canvas verso)oil on canvas61 x 61cm (24 x 24in).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 151
David Wynne O.B.E. (British, 1926-2014)Portrait Bust of Lady Oppenheimer signed and dated 'DAVID WYNNE/1952' (to neck verso)bronze with a brown patina on a marble base32cm (12 5/8in) high (excluding base); 48.5cm (19 1/8in) high (including base)Footnotes:ProvenanceSir Michael (3rd Baronet, 1924-2020) and Lady Oppenheimer DD, and thence by descentPrivate Collection, JerseyLiteratureD. Wynne, The Sculpture of David Wynne 1949-1967, Michael Joseph, London, 1968, p. 152This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 120
Austin Osman Spare (British, 1886-1956)Portrait of R. J. Newman signed, dated and inscribed 'RJ. NEWMAN Esq/1934/A.O.SPARE. PXT' (lower left)chalk on paper, laid on board38 x 28.5cm (14 15/16 x 11 1/4in).Footnotes:ProvenanceCharlotte Elizabeth Newman (1896–1999)Alan Michael HarrisRichard Thomas Newman (1886–1962) was a chemist, and the brother of Charlotte Elizabeth Newman (1896-1999). Neither sibling married, and both retired to Eastbourne in the late 1950s. We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 133
Eric Henri Kennington R.A. (British, 1888-1960)Portrait of a Girl signed and dated 'E H Kennington. 15.' (lower left)pencil on paper17 x 14.5cm (6 11/16 x 5 11/16in).Footnotes:The present lot is thought to have been executed after Kennington was discharged from the Army in mid-June 1915. When not sketching soldiers, the Artist liked to draw children, as they were more difficult sitters, and he was interested in the way that a child's personality has not yet become set. A few years later, Kennington would produce another series of child portraits between 1919 and 1921, which were a reaction to the war.We are grateful to Dr Jonathan Black for his assistance in cataloguing this lot.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 Kyffin Williams R.A. (British, 1918-2006)Portrait of a Man signed with initials 'KW.' (lower right)watercolour and pencil on paper36.5 x 28.5cm (14 3/8 x 11 1/4in).Footnotes:ProvenanceWith Thackeray Gallery, LondonNicholas Sinclair, from whom acquired by the present owner Private Collection, U.K.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 141
Bernard Meninsky (British, 1891-1950)Portrait in Green signed 'Meninsky' (lower right)oil on canvas51 x 40.5cm (20 1/16 x 15 15/16in).Painted circa 1944-48Footnotes:ProvenanceNora Meninsky Sale; Sotheby's, London, 30 March 1983, lot 145, where acquired by the present owner Private Collection, U.K.For further information on this lot please visit Bonhams.com
Los 119
Austin Osman Spare (British, 1886-1956)Portrait of Jack Senior signed with initials and dated 'AOS 38' (lower right)chalk on paper33 x 25cm (13 x 9 13/16in).Footnotes:ProvenanceAlan Michael HarrisIn his 1937 exhibition, Spare offered several portraits of musicians, including K. S. Sorabji. He continued this theme in 1938, exhibiting a series of works titled, Petite Suite for a Small Orchestra. On the reverse of the present lot there is an inscription in the artist's hand: 'Jack Senior (Jack Lowe). Musical director at Wyndams [sic] Theatre and conductor of a Dance and Cinema band.'We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 138
Augustus Edwin John O.M., R.A. (British, 1878-1961)Portrait of Mrs Limond signed and dated 'John 99.' (lower left)pencil and chalk on paper27 x 21.5cm (10 5/8 x 8 7/16in).Footnotes:We are grateful to Rebecca John for her assistance in cataloguing this lot.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 124
Austin Osman Spare (British, 1886-1956)Metamorphosis, Portrait of Oswell Blakeston signed, dated and inscribed 'Oswald Blakeston 1933/by Austin Osman Spare' (lower right)watercolour, pencil, gouache and chalk on paper38.5 x 28cm (15 3/16 x 11in).with a further unfinished portrait in pencil, on the reverse, by the same handFootnotes:ProvenanceFrederick R. Koch (1933–2020)With The Fine Art Society, London, June 1977Sale; Christie's, South Kensington, 12 May 1994, lot 88Alan Michael HarrisIn the early 1930s, Spare moderated the grotesque style that had dominated his work of the previous decade, and so found a new generation of collectors. Among them was the writer and artist Oswell Blakeston (1907–1985), then just embarking on his career. In his short introduction to the Artist's 1936 exhibition catalogue, Blakeston (real name Henry Joseph Hasslacher) noted that Spare might lay claim to 'the first text-book on how to be a surrealist and why', citing the automatic drawing processes Spare described in The Book of Pleasure, (1913). Blakeston's semi-fictional memoir, For Crying Out Shroud (1969), offers a warm and humorous account of visiting Spare in his studio during the early 1930s. In this fine profile drawing, which exhibits the fluid pencil plumes typical of this period, the artist has included a self-portrait, upper left.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 150
Sir Lawrence Gowing (British, 1918-1991)Portrait of Miss U oil on canvas102.5 x 81.5cm (40 3/8 x 32 1/16in).Footnotes:ProvenanceWith Thomas Agnew & Sons, LondonPhilip Rieff and Alison Douglas Knox, PhiladelphiaExhibitedPhiladelphia, The Philadelphia Museum of Art, 1991 (catalogue not traced)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 113
Austin Osman Spare (British, 1886-1956)The Nascent Soul (Portrait of Walter Warren) signed and dated 'Austin O. Spare 1928.' (lower left); further signed, titled, dated and inscribed 'Original drawing by/Austin O Spare/No. 5 Date: 1928/Title: The nascent Soul' (on Artist's label attached to backboard)pencil and chalk on paper 38 x 28cm (14 15/16 x 11in).Footnotes:ProvenanceFrederick R. Koch (1933–2020)Sale; Christie's, South Kensington, 12 May 1994, lot 79Alan Michael HarrisIn tracing early influences upon Spare's philosophy, Walter Warren (1869–1942) stands apart. An amateur artist and skilled engraver for the gun-makers James Purdey and Sons, Warren lived opposite the Spare family in Kennington Park Gardens, circa 1901, before moving to Thornton Heath in Surrey. In 1927, Spare assisted Warren in self-publishing The Youth and the Sage, a slim volume of poetry in the manner of the Rubaiyat of Omar Khayyam. In addition to recommending a printer, Spare provided a frontispiece for the volume, and a pen and ink self-portrait with Warren profiled as his shadow. The title of this fine pencil drawing of Warren, seen in profile with his distinctive moustache, draws upon Eastern philosophies concerning the rebirth of the soul.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.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 118
Austin Osman Spare (British, 1886-1956)Portrait of a Lady in Profile signed with initials and dated 'AOS/39' (lower left)chalk on paper39 x 29.5cm (15 3/8 x 11 5/8in).Footnotes:ProvenanceDr Thomas W. Lumsden (1874–1953), probably acquired directly from the ArtistAlan Michael HarrisWe are grateful to Robert Shehu-Ansell for his assistance in cataloguing this lot.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 3026
HOUSE, Madeline and Graham STOREY (editors). The Letters of Charles Dickens. Oxford: Clarendon Press, 1965-2002. 12 vols. 'The Pilgrim Edition', 8vo (214 x 138mm.) Photographic portrait frontispiece. Original red cloth, dust-jackets. - And a related volume ('The Speeches of Charles Dickens' edited by K.J. Fielding, 1960, 8vo) (13).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3016
WAUGH, Evelyn. When the Going Was Good. London: Duckworth, 1946. First edition, 8vo (216 x 132mm.) Portrait frontispiece in colour, folding map. (Toning, spotting verso the frontispiece.) Original yellow cloth (slightly browned spine ends), dust-jacket (some chipping, short marginal tears, nicks to upper panel). - And a further three volumes by Evelyn Waugh ('The Holy Places', 1952, 4to, 'A Little Learning', 1964, 8vo, and 'Helena', 1950, 8vo) (4).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3151
RALEIGH, Walter. The History of the World, in Five Books. London: J.J. and P. Knapton, G. Conyers et al., 1733. Seventh edition, folio (359 x 218mm.) (Lacking portrait frontispiece, lacking all plates and maps, facsimile title-page.) 20th century brown half morocco over marbled paper-covered boards. - And a further eight volumes ('The Holy Bible, Containing the Old and New Testaments' with commentary by Adam Clarke, 1817-1825, 8 vols., large 8vo). Provenance: the property of Michael Godfrey (9).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3110
BYRON, George Gordon Noel, Lord. The Complete Works of Lord Byron. Paris: Baudry's European Library, 1835. 4 vols., 8vo (198 x 116mm.) Steel-engraved portrait frontispiece with tissue-guard. (Toning, occasional spotting and browning.) Near contemporary brown half calf over purple cloth-covered boards (fading to cloth, occasional mark, rubbed to extremities). - And a further fourteen volumes relating to Byron's work (including, in the publisher's original binding, 'Childe Harold's Pilgrimage', 1853, 8vo) (15).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3051
HERBAL. - James NEWTON. A Compleat Herbal… containing the Prints and the English Names of Several Thousand Trees, Plants, Shrubs, Flowers, Exotics, &c. London: E. Cave, 1752. First edition, 8vo (186 x 111mm.) Engraved portrait frontispiece of J. Newton, 175 engraved plates, 7pp. 'Index' to rear. (Browning to title, marginal paper repair to plate 145.) Near contemporary calf, red morocco lettering piece to the spine (some loss to the lettering piece, light rubbing). Note: Newton was a botanist and physician, but he also ran an asylum for the mentally ill in London. He began his herbal in 1680 but died before it was completed and it was published posthumously by his grandson. Provenance: Antonia Hengitt (name inscribed to front pastedown); Francis Hengitt (name inscribed to front pastedown); E.R. Massy (pencil name inscribed to initial blank).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3085
CESCINSKY, Herbert. The Gentle Art of Faking Furniture. London: Chapman & Hall Ltd., 1931. First edition, 4to (251 x 189mm.) Portrait frontispiece, numerous black and white photographic illustrations. (Toning, spotting to title-page and endpapers.) Original black cloth, gilt lettering to spine (fading, upper hinge weakening). - And a further seventeen volumes (including Christopher Wordsworth's 'Greece: Pictorial, Descriptive and Historical', 1844, 8vo, and 'A New Variorum Edition of Shakespeare: The Tragedie of Julius Caesar' edited by Horace Howard Furness, 1913, 4to) (18).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 3090
BINDINGS. - William SHAKESPEARE. The Complete Works… Oxford: Humphrey Milford, 1914. 'The Oxford Shakespeare', 8vo (184 x 124mm.) Portrait frontispiece with tissue-guard. (Toning.) Near contemporary red calf over red cloth-covered boards bound by Riviere & Son, t.e.g. (some fading, minor scuffing and nicks). - And a quantity of approximately sixty-five further volumes, mostly literary (including Camille Lemonnier's 'L' École Belge de Peinture 1830-1905', bound by Morrell, 1906, 4to). Provenance: the property of Michael Godfrey (a quantity).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Los 80
ARR Property from a Private Collection MARIE LAURENCIN (1883-1956)PORTRAIT OF MADELINE LUNN-ROCKLIFFEsigned, inscribed and dated Marie Laurencin/ Madeline Lunn-Rockliffe/ 1939 lower leftpencil image: 29.5 x 20.5cm; 12 1/4 x 8 1/4inframe: 39 x 29.5cm; 15 1/4 x 12 1/4inProvenance: Madeline Lunn-Rockliffe, a gift from the artist (thence by descent to the present owner, the sitter's daughter)
Los 16
ATTRIBUTED TO GEORGE RICHMOND RA (1809-1896)FIGURE STUDIESone pencil and ink; the other pen and inkimage size (largest): 20 x 32cm; 8 x 12inframed (largest): 39.5 x 51cm; 15 1/2 x 20in(2)It has been suggested that the head study in the larger work is a portrait of Charles Darwin.*sold without reserve
Los 18
ARR MILEIN COSMAN (1921-2017)PORTRAIT OF IGOR STRAVINSKYsigned Cosman lower rightpencil and pen and inkimage: 28 x 22cm; 11 x 8 3/4inframed: 43.7 x 37.7cm; 17 x 14 3/4inProvenance: Drawn at the rehearsal of a concert performance of Oedipus Rex in 1961, to celebrate Stravinsky's 80th birthday, at the Royal Festival Hall, London.*sold without reserve
Los 88
AFTER G.J. CASSE (19TH CENTURY) PORTRAIT OF ADMIRAL LORD NELSONetching by J.Piersonimage: 39 x 28cm; 15 1/4 x 11inframe: 53 x 42.5cm; 21 x 16 3/4intogether with four other prints: After R.Evans (19th Century) Sir Thomas Masterman; After J.Chapman (act.1792-1823), Admiral Sir Hyde Parker; After W.Evans (act. 1797-1856), Rear Admiral Sir Hyde Parker; English School (19th Century) Admiral Sir Hyde Parker Bart.(5)*sold without reserve
Los 15
SIR WILLIAM ORPEN RA (1878-1931)SELF PORTRAITsigned, dated and inscribed William Orpen / ever with much love / London 1922 pen and inkimage: 9.5 x 15.5cm; 3 3/4 x 6 1/4inframed: 20 x 25cm; 7 3/4 x 9 3/4intogether with: Phil May (1864-1903), Christmas; Sir John Tenniel (1820-1914), The long and the short of it; British School (20th Century), A study of Winston Churchill with a facsimile of a letter from 10 Downing Street(5)*sold without reserve
Los 19
ARR Property from a Private CollectionOLGA LEHMANN (1912-2001)JOsigned and dated Olga Lehmann 1934 lower right; signed and titled Olga Lehmann / Jo / Portrait on a Slade School Student's Sketch Club label on the reverseoil on board image: 37 x 30cm; 14 1/2 x 12inframed: 49 x 41.5cm; 19 x 16 1/2in(2)Exhibited:Royal Institute of Oil Painters, LondonFor another painting of the same sitter see: Sale, Christie's London, 6th September 2000, lot 16Together with another oil: British School (20th Century), Woodland*sold without reserveSurface dirt overall due to time staining and some surface spotting. Reminence of old label lower right and left, as per catalogue illustration. Some hairline cracking to upper and lower edge, as per the illustration, and some very fine very cracking elsewhere, as visible in the illustration. Overall in good, original condition, and would clearly benefit from light surface clean.
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