Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917). This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October, 1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)
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4 volumes Richard Burton & Forster Fitzgerald Arbuthnot For the Kama Shastra Society of London and Benares 1885-1887 Ananga Range or the Hindu Art of LoveThe Perfumed Garden of The Cheikh NefzaouiThe Abode of Spring by JamiThe Gulistân or Rose Garden of Sa'diDimensions: 8 in. (H) x 5.5 in. (W)
To be sold without reserve 15 volumes With introductions by W. P. Trent and J. B. Henneman The Complete Works of W. M. Thackeray New York Thomas Y. Cromwell Company No date Vanity Fair Pendennis Newcomes Virginians The Adventures of Philip Henry Esmond, Samuel Titmarsh, Cornhill to Cairo Christmas Books, Book of Snobs, Travels in London Burlesques, Paris Sketchbook, Roadside Sketches Yellowplush, Cox's Diary, Irish Sketchbook Barry Lindon, Catherine, Men's Wives Poems, Roundabout Papers, Funeral of Napoleon English Humourists, Four Georges, Lovel the Widower Literary Essays, Essays on Art Short Stories, Juvenilia, Miscellanies Contributions to Punch Letters Dimensions: 8.5 in. (H) x 6 in. (W)
To be sold without reserve A Collection of Thirty-eight Books: Edward Vaughan Kenealy, Poems and Translations, 1864 H. Rider Haggard, Heart of the World, 1896 Henry Kirke White, Poetical and Prose Works William Ernest Henley, Poems, 1909 Thomas Hood, The Serious Poems J. G Edgar, Runnymede and Lincoln Fair, A Story of the Great Chapter Hammond Innes, Maddon's Rock, 1950 Giovanni Guareschi, The Don Camillo Omnibus John Steinbeck, Sweet Thursday, 1954 Robert Burns, The Works of Robert Burns, 1853 W. Somerset Maugham, Then and Now, 1946 Diane Giguère, Innocence, 1962 Jeffery Farnol, The Broad Highway Arthur Mee, Salute the King, George the Sixth and his Far-Flung Realms, 1937 Thomas Moore, Poetical Works, 1860 B. Disraeli, Sybil, 1853 Jules Sandeau, Mlle. de la Seigliere, 1902 Edmund Clarence Stedman, Genius and Other Essays, 1922 George Saintsbury, A Short History of French Literature, 1897 Professor Wilson, Noctes Ambrosianae, 1864 Ogden Nash, Many Long Years Ago, 1945 Ogden Nash, Good Intentions, 1942 Rev. William Bengo Collyer, Lectures, 1813 D. G. Rossetti, Poems, 1895 George Wharton Edwards, Old English Ballads Frances Parkinson Keyes, All That Glitters, 1941 Frederic W. Farrar, Life of Christ in Art, 1894 Anthony Rich, Roman and Greek Antiquities, 1890 M. A. Rondelet, L'Art de Parler, 1879 John Keats, Poetical Works, 1929 Elizabeth Barrett Browning, Poems, 1844 Edmund Spenser, Poetical Works, 1921 John Greenleaf Whittier, Poetical Works Percy Bysshe Shelley, Poetical Works, 1912 Pisistratus Carton, My Novel Emily Brontë, Wuthering Heights George Eliot, Romola C. Bayet, Historie de L'Art
To be sold without reserve A Collection of Forty Books: Kenneth Garlick, Sir Thomas Lawrence Tolstoi, Erzählungen Samuel Shellabarger, Prince of Foxes Carl Muller, Once Upon a Tender Time Jim Corbett, Jungle Lore, 1953 Eric Newby, A Short Walk in the Hindu Kush, 1981 D. R. Sherman, Into The Noonday Sun, 1966 Wilfred Thesiger, Arabian Sands John P. S. Mackenzie, Birds in Peril, 1977 James Fenimore Cooper, The Deerslayer Jerome J. Knap, The Complete Hunter´s Almanac, 1978 Round Africa Cruise The Search for the Source of the Nile, 1999 Ernest Hemingway, The Snows of Kilimanjaro and Other Stories, 1972 Thomas J. Assad, Three Victorian Travellers, 1964 Ceylon Pictorial Stamps, 4th February 1950 Instruction Manual Karmann Ghia A Guide to the Birds of Antigua Stefan Zweig, Brazil Land of Future, 1942 N. D' Anvers, An Elementary History of Art, 1882 M. de Bonald, Recherches Philosophiques sur les Premiers Objets des Connaissances Morales, 1818 John Galsworthy, A Modern Comedy, 1956 Thomas Archer, Gladstone and His Contemporaries, 1883 Guerney, Dimitri Merejkowski A. Conan Doyle, The Great Boer War, 1900 J. B Priestley, Low Notes on a High Level, 1954 Z. H. Ross, One Corpse Missing, 1948 George Gibbs, The Great Deception J. C. Stobart, The Grandeur that was Rome, 1935 Lord Lytton, The Pilgrims of the Rhine Lord Lytton, The Caxtons: A Family Picture Léonie D’Aunet, L’ Héritage du Marquis d’Elvingy Mulock, Head of the Family Paul du Chaillu, Stories of the Gorilla Country, 1868 Gregory Borovka, Scythian Art, 1928 From Cromwell to Wellington, 1900 Thomas Ernest Godson, Mining Commissioners Cases Ontario 1912-1917, 1919 R. Chantelauze, Mémoires de Philippe de Commynes, 1881 W. Boyd Dawkins, Early Man in Britain and His Place in the Tertiary Period, 1880 Shakespeare, Sonnets, 1928
To be sold without reserve Property of Sir Christopher Ondaatje A collection of thirty-two books Barclay’s English Dictionary, 1808 Milton, 1894 Thomas Gray, Poetical Works, 1826 William Burger, A History of all Religions of the World De la Mer Rouge a L’Atlantique á travers L’Afrique Tropicale William Ewart Gladstone, Juventus Mundi the Gods and Men of the Heroic Age, 1870 The New Testament of Our Lord and Saviour Jesus Christ, 1897 John Milton Poetical Works, Rev. H. C. Beeching (ed.), 1916 Sir Walter Scott, Rob Roy, 1871 Statutes at Large, 1800 Laurie Lee, The Edge of the Day John Watkins, The Life of William the Fourth, First Edition, 1831 David G. Farragut, American Crisis Biographies, 1905 The Edinburgh Review Alexander David Russel and Abdullah-Al-Ma-Mun Suhrawardy, Handbook of Muslim Jurisprudence, 1976 Charles G. D. Roberts, Earth’s Enigmas, 1903 George Gibbs, The Great Depression, 1915 2 volumes, J. L. Hiebergs, Poetiske Skrifter, 1862 John Burke, Encyclopaedia of Heraldry of General Armoury of England, Scotland, and Ireland, 1844 Charles G. D. Roberts, Earth’s Enigmas, 1903 3 volumes, Common Debates, 1770 L’Abbé de Brandt, Méditations, 1903 Alexandre Dumas, Vicomte de Bragelonne, 1929 Baretti’s Italian Dictionary, edited by Da F. Damiani, 1798 Homer, Iliad, 1815 Joseph Reeve, Practical Discourses, Upon the Divinity and Wonderful Works of Jesus Christ Lion Feuchtwanger, Jew Süss, 1926 Watkins, The Life of William the Fourth, 1831 The Magazine of Art Charles Macfarlane and Thomas Thomson, The Comprehensive History of England, 1874 All the Year Round: A Weekly Journal, 1870 The Outline of Literature
Property of The Daughters of the Cross Follower of Fra Angelico (1395-1455) Christ the Child Oil, tempera, and applied gold on poplar panel Provenance: Algar Labouchere Thorold (1866-1936), son of Anthony Thorold, Bishop of Winchester (1825-1895). Acquired by Algar whilst living at the Villa Christina, Florence. Amongst Algar’s inner circle of friends was the art historian Bernard Berenson, from whom this painting seems to have been acquired. Gifted to The Daughters of the Cross. Dimensions:
Property of Sir Christopher Ondaatje Bonjour, Portrait of a young lady, a free person of colour Oil on canvas Inscribed, lower left BONJOUR 1852 Label verso: 'Jean Baptiste Bonjour Swiss B1801 D1882 / Art education commenced under Noy [?] / Visited Rome Venıce Nıce Germany Native countries / Portrait painter' Dimensions: (Frame) 21.5 in. (H) x 18.6 in. (W) (Canvas) 17.4 in. (H) x 14.2 in. (W)
Property of Stephanie Hoppen Mughal 17th/18th Century An Indian Miniature of the Madonna and Child with Angels On paper This image is an example of an iconography resulting from the assimilation of Catholic ideologies into the Mughal court style within India. The Jesuits have had a presence in India since the sixteenth century and generally treated their mission encounters as a dialogue instead of a harangue. As such, the Jesuits earned a reputation as skilled debaters and were welcomed into the royal Mughal courts. The resulting encounters yielded syncretic images in which Mughal artists deftly and selectively integrated European subjects as well as stylistic conventions and pictorial realism. Mughal-produced art influenced by Catholic art ranged from iconic representations of Jesus and Mary to a panoply of Christian saints and angels. Dimensions: (Paper) 12 in. (H) x 9 in. (W)
A good collection of 11 Jazz LPs to include Sonny Stitt with Art Blakey and the Jazz Messengers - In Walked Sonny ( SNTF 691 ), Ella Fitzgerald - Newport Jazz Festival Live At Carnegie Hall ( 68279 ), Billie Holiday - Lady Sings Of Love ( MEMOIR MOIR 135 ), and Joe Williams - Worth Waiting For ( BST 84355 , USA Blue Note). (vinyl records)
Misheck Masamvu (Zimbabwé, né en 1980)Disputed Seats2008signé et daté 'M Masamvu 08' en bas à droitehuile sur toile signed and dated 'M Masamvu 08' lower rightoil on canvas 115 x 95 cm. 45 1/4 x 37 3/8 in.Footnotes:Cette oeuvre est accompagnée d'un certificat d'authenticité. This work is accompanied by a certificate of authenticity.ProvenanceInflux Contemporary GalleryCollection privée, Pays-BasExpositionPortugal, Lisbon, Influx Contemporary Art, Disputed Seats, 2009.For further information on this lot please visit Bonhams.com
Abdoulaye Diarrassouba 'Aboudia' (Côte d'Ivoire, né en 1983)Patrol licorn2011daté '05 04 2011' en bas à droitehuile et acrylique sur toiledated '05 04 2011' on lower rightoil and acrylic on canvas 190 x 238 cm. 74 13/16 x 93 11/16in.Footnotes:ProvenanceCollection privée, AngleterreExpositionAbidjan, Côte d'Ivoire, Villa Kaïdin, Drawings & Paintings During the Days of War, March - April, 2011.BibliographieStefan Meisel, Aboudia, Drawing and paintings during the days of war, March and April 2001. Villa Kaidin, Abidjan, Cote d'lvoire, (Germany: Abobo Gare Art Gallery, 2001)This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Ngoye (Côte d'Ivoire, né en 1980)Sans titre, (série Faces)2021signé 'Ngoye' en bas à droitehuile sur toilesigned 'Ngoye' lower rightoil on canvas 100 x 100 cm.39 3/8 x 39 3/8 in.Footnotes:ProvenanceGalerie Melbye-KonanCollection privée, AllemagneNgoye (Kouamé Jean Ngoran), diplômé de l'École nationale des Beaux-Arts en 2006, est un des artistes les plus percutants de la nouvelle scène ivoirienne. Les thèmes principaux de ses compositions néo-expressionnistes, quasiment abstraites, sont les phénomènes psychologiques et les dégénérescences liées au respect arbitraire des mœurs et des comportements sociaux.Ngoye compte Vincent Van Gogh, Pablo Picasso et Francis Bacon parmi ses sources d'inspiration, épousant l'approche avant-gardiste du remodelage constant, de la déconstruction et de la réorganisation des éléments de ses toiles. Dans une démarche de révélation intime du moi intérieur des sujets qu'il représente, les visages ne sont souvent pas reconnaissables. Les figures masquées se fondent les unes dans les autres, formant un tout universel. L'esthétique des masques occupe Ngoye depuis le commencement de ses expérimentations artistiques. Dans ses œuvres, ils sont une expression de méfiance, la métaphore d'un isolement et de l'obstruction de ses propres émotions face au monde.'Ces masques que nous portons cachent ce qui se trouve derrière eux : notre véritable identité. Car nous vivons dans une certaine méfiance. Depuis mon enfance, j'ai vécu tellement de crises, cette douleur pendant les guerres, les épidémies et encore aujourd'hui pendant le Covid : des crises qui nous épuisent et nous stressent. C'est la raison pour laquelle j'ai voulu explorer le monde qui se cache derrière la façade. C'est pourquoi j'ai commencé à peindre des masques et des visages. Ma tâche en tant qu'artiste est de montrer cela, mais aussi de tourner mon regard vers l'intérieur et de me demander qui je suis et comment je m'adapte à l'environnement changeant : est-ce que je reste celui que je pense être ?' (Ngoye, 2021)Ses œuvres font partie de collections privées et publiques renommées en Côte d'Ivoire ainsi que dans d'importantes collections en Allemagne, en Italie et en France. The Ivorian artist Ngoye (Kouamé Jean Ngoran) graduated from the École Nationale des Beaux-Arts in 2006 and impresses with his lively neo-expressionist compositions. The main themes of his works are hidden psychosocial phenomena and human dynamics. Ngoye's works can be found in renowned private and public collections in the Ivory Coast as well as in international collections in Germany, Italy and France. He also won the 47th Art Prize of the Société de Distribution d'eau en Côte d'Ivoire (SODECI).Ngoye counts Vincent Van Gogh, Pablo Picasso and Francis Bacon among his sources of inspiration, and his art follows their approach of reshaping, deconstructing and rearranging painted objects and figures. In his portrait works, the painter analyses the inner state of mind of people, it is sometimes so different from what is worn on the outside. The people portrayed are no longer recognizable, their mask-like faces fading into each other, almost forming a unity. The motif of masks has occupied Ngoye for a long time. They are not least an expression of mistrust, an isolation of one's own emotions from a hostile outside world.'These masks we wear hide what is behind them: the true identity. Because we live in a certain mistrust. Since my childhood I have experienced so many crises, this pain during wars, epidemics and even today during Covid: crises that drain us and stress us. That is the reason for me to explore the world behind the façade. That's why I started painting masks and faces. My task as an artist is to show this, but also to turn my gaze inward and ask myself who I am and how I adapt to the changing environment: am I staying who I think I am ?' (Ngoye, 2021)For further information on this lot please visit Bonhams.com
Yannick Ackah (Côte d'Ivoire, né en 1992)Héritage2022signé et daté 'Yannick.A 22' en bas à droite technique mixte sur toilesigned and dated 'Yannick.A 22' lower right mixed technic on canvas 160 x 200 cm.63 x 78 3/4 in.Footnotes:ProvenanceGalerie Melbye-KonanPrivate Collection GermanyBibliographieYannick Ackah, Monographie, 2022, Melbye-Konan Publications, Pages: 80Yannick Ackah est un artiste contemporain reconnu, et actuellement l'un des jeunes artistes les plus suivis du continent. Ses œuvres, faisant ouvertement référence aux esthétiques africanisées de Picasso et de Basquiat, ont été récemment présentées lors de la foire d'art berlinoise Positions et à l'occasion de sa première exposition solo en septembre dernier à Hambourg, Allemagne.À première vue, ses œuvres suggèrent un enracinement profond dans les cultures visuelles et les imaginaires africains. Les formes humanoïdes suspendues dans la toile semblent vouloir orienter la contemplation vers des vérités ancestrales, dont la temporalité et l'individualité sont absentes.Ackah lui-même décrit sa relation avec celles-ci comme un mystère :'Ce que je vois dans les sculptures africaines, c'est la beauté, un défi, une histoire complète, un grand mystère que j'essaie de résoudre à travers mon travail avec des lignes, des coups de pinceau et aussi avec la couleur.' (Ackah, 2021)Divers matériaux tels que du papier, des articles de journaux et de magazines ou du tissu, qu'il assemble dans ses œuvres comme dans un collage, créent la structure typique de la surface de ses toiles. Ils contribuent à la tridimensionnalité et à la profondeur de ses œuvres, y intégrant des références à la culture pop, qu'il associe de manière ludique à des motifs traditionnels.Si vous vous laissez embarquer dans le récit fantasmagorique de ses peintures, vous percevrez une confrontation constante entre les thématiques omniscientes et universelles que sont la vie et de la mort, le jour et la nuit, le jeu rêveur et les abysses mentales. Autant de bases de réflexion constituant les fondations de 'la poésie d'une existence', comme le dit lui-même le jeune artiste. En 2020, Yannick Ackah termine ses études d'art à l'I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) à Abidjan (Côte d'Ivoire). Depuis, il a exposé à l'international et ses œuvres font partie de prestigieuses collections privées en France, en Allemagne, en Suisse, en Espagne, au Japon et aux États-Unis.Yannick Ackah is a recognized contemporary artist, and currently one of the most sought-after newcomer artists from Africa. His works have echoes of Picasso and Basquiat and were also immediately sold out at the Berlin Art Fair Positions and at his first Solo Show last September in Germany. At first glance, the works of this artist suggests his deep rootedness in the visual cultures of Africa. The engaging images seem to want to carry you away, in search of individual truth, but also the collective truth of a culture. For his compositions, Ackah draws inspiration from African sculptures and masks. The stylistic artistic reference to Picasso and his work is deliberately chosen, whereby Picasso's source of inspiration also leads back to African culture. Ackah himself describes his relationship to it as a mystery: 'What I see in African sculptures is beauty, a challenge, a complete story, a great mystery that I try to solve through my work with lines, brushstrokes and also with colour.' (Ackah, 2021) Various materials such as paper, newspaper and magazine articles or fabric, which he assembles in his works as in a collage, create the typical surface structure. They contribute to the three-dimensionality and depth of his works and add a dimension of everyday life and pop culture, which the artist playfully combines with traditional motifs.If you allow yourself to embark on this journey, you will often recognize a play of opposites: The dialectic of life and death, mental abysses and dreamy playfulness, day and night, in short 'the poetry of an existence', as the young artist himself states.But his own identity and the society in which he lives also play an undeniable role for Ackah. Socio-political themes such as racism and the deep wounds of colonialism as well as to the cultural appropriation can also be found in the works. In 2020 Yannick Ackah completed his art studies at I.N.S.A.A.C (Institut National Supérieur des Arts et de l'Action Culturelle) in Abidjan (Ivory Coast). Since then, he exhibited internationally and his works are part of prestigious private collections in France, Germany, Switzerland, Spain, Japon and the United States.For further information on this lot please visit Bonhams.com
Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper1977 signé et daté 'Shikhani, 1977' en bas à droitehuile sur toilesigned and dated 'Shikhani, 1977' lower rightoil on canvas100 x 200 cm.39 3/8 x 78 3/4 in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com
Wosene Worke Kosrof ((Ethiopie/Amérique, né en 1950)Masinco Bar1995signé et daté 'Wosene: 95' en bas à droite; signé et daté au revers acrylique sur toile signed and dated 'Wosene: 95' lower right; signed and dated on the reverseacrylic on canvas120 x 105 cm.47 1/4 x 41 5/16 in.Footnotes:ProvenanceCollection privée, Pays-BasBibliographieElizabeth W. Giorgis, Modernist Art in Ethiopia, New African Histories, (Athens, Ohio: Ohio University Press, 2019), pp. 161-170.Elizabeth Harney, Ethiopian Passages, Contemporary Art from the Diaspora, (London: Philp Wilson Publishers, 2003), pp. 46-47, 84.Ndubuisi Ezeluomba, African Artists, from 1882 to Now, (London: Phaidon Press, 2021), p. 181.Peintre profondément moderniste, Kosrof débute sa carrière artistique après avoir obtenu son baccalauréat à l'École des beaux-arts d'Addis-Abeba en 1972. Élève d'Alexander (Skunder) Boghossian et de Gebre Kristos à cette époque, les qualités formelles des compositions abstraites dérivées de l'écriture et des symboles amhariques sont flagrantes.Cette œuvre porte l'essence du style de Kosrof, démontrant une fois de plus son aptitude à expérimenter et à emboîter les formes de façon intuitive et spontanée. Kosrof compare l'esthétique de sa peinture au processus rythmique de création de la musique jazz, qui influence fortement son œuvre. De la même manière que le jazz improvisé démonte et réarrange les rythmes traditionnels de la musique, Kosrof déconstruit et réassemble les lettres calligraphiques de l'écriture amharique, les allongeant, les abstrayant et les déformant pour produire son propre langage visuel et sa propre poésie.Sans même esquisser son œuvre sur la toile avant de la peindre, Kosrof laisse une improvisation visuelle se déployer et commander son œuvre.'Je crée une surface visible et interactive - comme des icônes visuelles accessibles à tous. Mes tableaux invitent les spectateurs à dialoguer avec eux, à les projeter dans leur mémoire et leurs souvenirs personnels.'As a profound modernist painter, Kosrof began his artistic career after receiving his BFA from the School of Fine Arts Addis Ababa in 1972. As a student of Alexander (Skunder) Boghossian and Gebre Kristos during this time, the formal qualities of abstract compositions derived from Amharic script and symbols are evident in Kosrof's work. This work encapsulates the essence of Kosrof's style, displaying his intuitive experimentation and interplay between accident and intention. Using this juxtaposition within his creative process, Kosrof likens the aesthetic of his painting to the rhythmic process of creating jazz music, that of which heavily influences his oeuvre. In the same way improvised jazz dismantles and re-arranges traditional rhythms of music, Kosrof deconstructs and reassembles the calligraphic letters from the Amharic script, elongating, abstracting, and distorting letters to produce his own visual language and poetry. Without sketching his work on canvas prior to painting, Kosrof allows a visual improvisation to unfold and command his work. Here, the artist takes ownership of this new language he has created and adds new meaning while simultaneously acknowledging his and his work's cultural identity.'I create a visible, interactive surface – like visual icons that are accessible to everyone. My paintings invite viewers to dialogue with them, to take them into their memory.'For further information on this lot please visit Bonhams.com
William Kentridge (Afrique du Sud, né en 1955)Sans titre (dessin du film Felix in Exile)1994signé et daté 'Kentridge 94' en bas à droitefusain et pastel sur papier signed and dated 'Kentridge 94' lower rightcharcoal and pastel on paper46 x 63 cm.18 1/8 x 24 13/16 in.Footnotes:ProvenanceAcquis directement auprès de l'artisteCollection privée, FranceBibliographieStaci Boris, The Process of Change: Landscape, Memory, Animation, and Felix in Exile, William Kentridge, (Chicago and New York: Museum of Contemporary Art, Chicago and the New Museum of Contemporary Art, New York, 2001), p. 32.Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998), p. 61-64.Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015), p. 238-239 L'œuvre Sans titre est tirée de Felix in Exile, un film de Kentridge réalisé entre septembre 1993 et mars 1994. Le mois suivant l'achèvement du film, l'Afrique du Sud organise les premières élections démocratiques de l'histoire du pays. Si certains y voient une libération politique, la violence et les effusions de sang qui ébranlent la ville de Johannesburg pendant la période précédant ces élections sont inédites. Felix in Exile invoque le sacrifice, le chagrin et le souvenir de l'autodestruction du peuple, à la fois au regard des événements qui conduiront à l'élection et en référence à l'histoire personnelle de Kentridge.Nandi, protagoniste du film, est visible à l'écran dès le début du court métrage, observant la terre, reportant dans son dessin l'horrible champ de cadavres en sang qui se dissolvent dans le paysage. L'œuvre ici présentée est visible dans le film de 7:08 à 7:09 minutes, lorsque Nandi gît morte après avoir été tuée par un sniper. La ligne rouge bordant la figure, à la manière si caractéristique de Kentridge, fut ajoutée par la suite. Le processus artistique de William Kentridge, qui consiste à retravailler et à modifier un dessin unique à de nombreuses reprises afin d'illustrer les mouvements animés du film, abouti à cet unique dessin, capturant le tragique de l'entièreté de la scène. 'La technique que j'utilise consiste à avoir une feuille de papier collée au mur du studio et, à mi-chemin dans la pièce, mon appareil photo, généralement une vieille Bolex. Un dessin est gribouillé sur le papier, je me dirige vers la caméra, je tourne une ou deux images, je reviens vers le papier, je modifie le dessin (de façon marginale), je reviens vers la caméra, je reviens vers le papier, vers la caméra, et ainsi de suite. Ainsi, chaque séquence, par opposition à chaque image du film, est un dessin unique. En tout, il peut y avoir vingt dessins pour un film plutôt que les milliers auxquels on s'attend. Cela ressemble plus à la réalisation d'un dessin qu'à celle d'un film (bien qu'il s'agisse d'un dessin gris, abîmé et frotté)'.(Conférence, 1993, publiée dans Cycnos : Image et Langage, Problèmes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republié dans C. Christov-Bakargiev, William Kentridge, William Kentridge, Société des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)Influencée par la photographie graphique de l'époque couverte par les médias et la photographie d'enquête policière, cette esquisse incarne la nature froide, presque médicale, de ces photographies. Le cadrage de la figure réduit Nandi à une enquête objectivée, à étudier avec recul, dépourvue d'émotion humaine et volontairement privée de la compassion du spectateur.This is a drawing from Felix in Exile, a film by Kentridge created between September 1993 and March 1994. The following month after this film was completed, South Africa held the first democratic election in the country's history. Whilst this would have been viewed by some as political liberation, the reality of the city of Johannesburg was riddled with violence and bloodshed in the journey up to this election. Felix in Exile examines the sacrifice, grief and memorial encapsulating the destruction of the people at the hands of others both in the events leading to the election and historically throughout Kentridge's life. Nandi, a protagonist of the film, can be seen from the beginning of the film observing the land, witnessing bleeding corpses dissolving into the landscape of which she is drawing. The present lot can be seen in the film from 7:08 to 7:09 when Nandi lays dead after being killed by a sniper. Not present in this scene of Nandi's dead body is the addition of the red line bordering the figure which we see here in the drawing today. Kentridge's process of re-working and altering a singular drawing numerous times to display animated movement in the film has resulted in this conclusive drawing. 'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is tarted on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing).'(Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, 1994, pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, Bruxelles 1998, pgs.61-64)For this piece, while the red line suggests that the piece has been re-worked since its inclusion in Felix in Exile, it's addition also summarises the themes that are explored within the wider film. Influenced by the graphic photography of the time covered by the media and police investigation photography, this sketch embodies the cold forensic nature of these photographs. Framing the figure in this way shifts the humanitarian view of the corpse, reducing Nandi to an objectified investigation to be studied, devoid of human emotion.For further information on this lot please visit Bonhams.com
Gerald Chukwuma (Nigéria, né en 1973)Big Fish2006signé 'GDY' au centretechnique mixte sur panneaux (20 pièces)signed 'GDY' on the centermixed media on wood panels (20 pieces)117 x 175.5 cm. 46 x 69 in.Footnotes:ProvenanceVente: ArtHouse Contemporary Ltd, Lagos, Modern and Contemporary art, 29 novembre 2021, lot 11Collection privée, ItalieFor further information on this lot please visit Bonhams.com
Alexander 'Skunder' Boghossian (Ethiopie, 1937-2003)The Devil and the Crescent1970signé et daté 'Skunder 70' en bas à droite; titré au revershuile sur panneau signed and dated 'Skunder 70' lower right; titled on the reverseoil on panel47 x 41 cm. 18 3/4 x 16 1/4 in.Footnotes:ProvenanceAcquis auprès de l'artiste en 1971The Art Lending Service of the Museum of Modern Art, New York, de avril 1971 à mai 1972Collection privée, Etats-UnisVente: Bonhams, Londres, Africa Now, 20 mai 2015, lot 22Collection privée, FranceExpositionNew York, African-American Institute, African Art Today: Four Major Artists, du 14 mai au 31 aout 1974, no. 701-717.Skunder Boghossian grandit en Éthiopie, mais passe la majeure partie de sa carrière à Washington DC, aux États-Unis. Après avoir suivi une formation artistique en Europe, Skunder retourne en Éthiopie entre 1966 et 1969, période durant laquelle il travaille aux côtés du célèbre artiste contemporain (et autre 'pionnier' de l'art éthiopien) Gebre Kristos Desta, en tant que professeur à la prestigieuse école des beaux-arts d'Addis-Abeba. De nombreuses œuvres réalisées à cette époque ont contribué à ce que l'on appelle « la Renaissance du printemps d'Addis », une incroyable période de créativité et de fécondité pour l'art éthiopien, grâce à l'introduction de nouvelles influences et aux apports de ceux qui avaient étudié à l'étranger. Au cours de ces années, l'œuvre de Skunder s'est avérée incroyablement populaire et a été exposée dans trois studios à Addis-Abeba.De nombreux élèves de Skunder ont ensuite suivi ses traces, soit en émigrant aux États-Unis pour continuer de suivre son enseignement, soit en s'inspirant de ses expérimentations artistiques pour devenir les figures de proue d'un nouveau modèle d'art éthiopien contemporain. Cette aura auprès de la jeune génération d'artistes lui valut le titre de 'père des arts éthiopiens'. La renaissance du printemps d'Addis sera malheureusement cruellement réprimée en Éthiopie à l'époque du Derg, tandis que des artistes comme Skunder - qui choisirent d'émigrer – purent exprimer leur désillusion et leur déception à distance. Skunder est le premier artiste éthiopien à voir ses œuvres exposées au Musée d'Art Moderne et au Smithsonian.The Devil and The Crescent (Le Diable et le Croissant de lune) est datée 1970, trois ans après qu'il reçut le Prix des Beaux-Arts de l'Empereur Hailé Sélassié I et le Prix allemand des peintres africains contemporains, à Munich. Les motifs complexes et les couleurs tranchées représentent parfaitement l'influence croissante au début des années soixante-dix des motifs ouest-africains et coptes dans ses œuvres, ainsi que des recherches artistiques menées par les avant-gardistes internationaux Paul Klee, Max Ernst et de l'artiste cubain Wilfredo Lam.Skunder Boghossian was brought up in Ethiopia, but lived in Washington DC, USA for the majority of his working life. Following a European art education, Skunder returned to Ethiopia between 1966 and 1969, during which time he worked alongside renowned contemporary artist (and fellow 'father' of Ethiopian art) Gebre Kristos Desta, instructing at the prestigious Addis Ababa School of Fine Arts. Many works executed at this time contributed to what has been called the 'Addis Spring Renaissance', an incredible period of creativity and fecundity for Ethiopian art responding to the introduction of new influences and inspiration from those who had studied abroad. During these years, Skunder's work proved incredibly popular and was exhibited in as many as three studios in Addis Ababa at any one time.Many of Skunder's students would go on to follow in his footsteps either by emigrating to the USA and continuing as his pupils, or by taking inspiration from his innovations to become the leading figures in a new mode of contemporary Ethiopian art. This has earned him the title 'father of Ethiopian arts'. Unfortunately, the 'Addis Spring Renaissance' would be cruelly repressed in Ethiopia during the era of the Derg, whilst artists such as Skunder - who chose to emigrate - were free to express their disillusionment but only from a distance. Skunder was the first Ethiopian artist to have works exhibited in the Musée d'Art Moderne and the Smithsonian.The intricate patterning and delicately intertwined figuring of The Devil and the Crescent gives the impression of an incredibly organic work, foreshadowing Boghossian's works of the 1970s, which demonstrate the growing influence of West African and Coptic motifs in his works as well as the international influences of Paul Klee, Max Ernst and the Cuban artist Wilfredo Lam.For further information on this lot please visit Bonhams.com
Oil painting on canvas signed lower right with the inscription LI YUEN CHIA "GESTO" 1960 on the back of the canvas. The frame bears numerous stamps of the Numero Gallery. It also bears the stamp of the 1960 International Abstract Art Exhibition held at Palazzo Pretorio in Prato. Provenance: -Galleria Numero, Florence. § Lot subject to Right of Resale.
Decorated in blue under cover with two small dragons on the outside and two on the inside; in the centre of the base it bears the six-character mark in underglaze blue of Emperor Yongzheng. Catalogue notes: See the pair sold by Sotheby's, "China / 5000 Years"; 29 June 2022, New York, lot. 89. See also the very similar but doucai example sold by Christie's, live auction 15488, "Fine Chinese Ceramics and Works of Art"; 6 November 2018, London, lot. 172.
Cylindrical in shape and with a gilded rim, it is finely decorated in grisaille, iron red and gold with a continuous scene depicting the Eighteen Luohans; on the base it bears the six-character iron red seal mark of the Daoguang Emperor. Provenance: -Private collection, Italy. Catalogue notes: In Chinese Buddhism, the Eighteen Luohans (or Ahrats) are depicted as the original followers of Gautama Buddha, who have undertaken the Noble Eightfold Path and reached the Four Stages of Awakening. In Chinese art, they are depicted as eighteen, unlike other cultures such as Japan, where sixteen are depicted. This difference is probably due to the depictions of the monk Guanxiu from 891 A.D., considered the earliest Chinese depictions of the Luohans. See the snuff bottle with the identical decoration of the Eighteen Luohans in grisaille, iron red and gold, also marked and from the Daoguang period sold by Sotheby's, auction number HK0463, Snuff Bottles from the Mary and George Bloch Collection Part VI; 27 May 2013, Hong Kong; lot. 235.
Once part of a book, they are inscribed in gold gilt with four horizontal lines of characters. The characters an excerpt from the Qianlong imperial poem “Si De Lun†(???). Page numbers are engraved on the bottom edge. Provenienza: -Acquistate a Singapore nel 1961. Catalogue notes: For a similar Imperially inscribed jade plaque see The National Palace Museum Taipei, accession number ??000315N000000000. See also the pieces again at the National Palace Museum in Taipei, Accession number ??003499N000000000 See also Christie’s, Important Chinese Ceramics And Works Of Art, Hong Kong, December 2 2015, lot. 3166
Archaic in form, with a circular mouth and tapering neck decorated with a fine band with floral motifs in iron red, the square body is well painted on each face with polychrome enamels with a character and with inscriptions in iron red; the low ring-shaped foot is decorated with a Greek also in iron red. The centre of the base bears an eleven-character mark in iron red that reads 'Respectfully Painted by the Art Porcelain Factory for the Revolutionary Committee' (???????????). Provenance: -Private collection, Europe. Catalogue notes: The word 'Cong' is an archaic term and refers to a rectangular jade ritual vase with a round mouth, this form is one of the most famous in Chinese culture and has been taken up by almost all dynasties up to the present day. This vase is noteworthy for its extraordinary pictorial quality on a porcelain from the People's Republic of China period; the characters depicted are taken from works extolling Chinese Communist Propaganda in the second half of the 20th century; each work taken up is part of the 'Eight Model Works' approved by the Communist Party, as well as the 'Red Classics': 1-"Ode to Longjiang" (Longjiangsong, ???), 2-"On the Quays" (Haigang, ??) 3-"Fighting on the Plain" (Pingyuanzuozhan ,?? ??) 4-"The Taking of Tiger Mountain" (Zhiqu Weihushan , ?? ???) Among the top ten porcelain factories in Jingdezhen, the Art Porcelain Factory is one of the best known names in the city, having operated in the market since 1958, the year of its foundation, exerting considerable influence until 1998, when it closed for renovation. As porcelain manufacture was managed by the state, official rules were established for the production of each company, each of which had its own role. The Art Porcelain Factory concentrated on exhibition porcelain and coloured handmade porcelain. It was commissioned various works by the Party and the Revolutionary Committee, an indication of the prestige it enjoyed in the second half of the 20th century.
The vase is naturally carved to represent a blossoming magnolia flower with buds rising from below towards its large curling petals. Provenance: -John Sparks LTD, 128 Mount Street London, according to the label. Catalogue notes: For a related magnolia form jade vase see, Sotheby’s, sale number L14210, Fine Chinese Ceramics & Works Of Art ,14th of May 2014, London, lot. 5
Carved as an elephant standing on all fours with its head turned towards its right, the ears are foliate and almost lotus leaf-like in appearance. The elephant is covered wearing a tasselled saddle rug depicting a bat amidst scrolling clouds and waves. On top of the elephant two boys are shown holding a treasure vase (baoping), in their other hand one holds on to a ruyi sceptre and the other a lotus blossom. Provenance: From a distinguished family. Note di catalogo: For a related white jade elephant group carving see the example in the Palace Museum in Beijing from the Qing Court Collection illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 2008, pag. 178, pl. 137. See also the example in the same book again from the Qing Court Collection, pag. 179, pl. 138. Elephants (xiang) were a popular motif in the Qing court for their auspicious associations with peace, prosperity and good fortune. The motif of children carrying a pot on the back of an elephant evokes the rebus tai ping jing xiang ('peace on earth' or 'peace and prosperous future'). See the piece sold by Sotheby’s, sale number HK0517, Fine Chinese Ceramics And Works Of Art, Hong Kong, 8 April 2014, lot. 3064.
Square in shape, it is painted in famille rose enamels on a turquoise ground with a yellow border depicting stylised blue and red dragons intertwining. In the centre are three peaches surrounded by a ring of bats, both representing longevity and happiness. The rest of the scene is pervaded by lotus blossoms amidst a ramage of leaves, qilongs and iron-red bats holding swastikas in their mouths. Provenance Private collection, Italy Catalogue notes See the round plaque sold by Christie's, live auction 12291; Chinese Ceramics, Works of Art and Textiles Part I; 9 November 2016, London, South Kensington; lot. 414.
The painting, complete with its silk frame, depicts the Buddha Sakyamuni seated in padmasana (lotus position), while with the left hand he holds a bowl and with the right hand he touches the ground (bhumisparsha mudra), a gesture that recalls the moment of his enlightenment. Notes: Compare with the example in the Smithsonian Museum, Freer Gallery of Art, Washington; object number F1905.73
Description Beautifully shaped, it is decorated throughout the body with geometric, Greek, archaic motifs and waves; it rests on an antique wooden stand. Provenance: -Private collection, Italy. Catalogue notes: See the two vases at the Metropolitan Museum of Art, New York, accession numbers 2021.294 and 2021.292.
With a beautiful form rising from a tall ring-shaped foot, it is completely covered with a beautiful brownish crackle glaze with the exception of the brown biscuit base. Provenance: Private collection, Italy Catalogue notes: For a similar piece see the incense burner sold by Sotheby's, The Hundred Antiques Fine and Decorative Asian Art; 24 March 2021, New York, lot. 548.
With the coat-of-arms probably of van Overveldt under a drape with the inscription PAMEN, surrounded by three large Buddhist lions on a background of peony stems, a coloured border with a deep blue background and a further scroll of golden and iron red peonies. Catalogue Notes See a plate of the same size, decoration and coat of arms sold by Christie's, live auction 15336, 'Chinese Export Art Featuring 100 Lots from Marchant, Est 1925', lot. 15.
A 'Dingyao' carved 'lotus' bowlNorthern Song Dynasty (960-1127)Porcelain with an ivory-white glazePotted with deep, rounded sides and raised on a small, circular foot Carved on the interior with an elegant lotus sprayThe rim is bound with a metal band Provenance:Inportant private collectionChristie’s, London, 2015Small circular bowls, with almost semispherical shape and carved ‘lotus’ decoration are among the most representative pieces produced at the Ding kilns in Hebei province during the 11th century and the 1st half of the 12th century. Similar bowls to the one we are now presenting can be found in found in the most important public and private collections of Song ceramics. Similar pieces can be found at:The Palace Museum, Beijing - Selection of Ding Ware, The Palace Museum Collection and Archaeological Excavation, Beijing 2012, pp. 254-255, n. 109;Metropolitan Museum of Art, New York - Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 89, n. 82;Meiyintang Collection - Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London 1994, Volume I, p. 204, n. 361;Falk Collection - Eskenazi, Principal Wares of the Song Period from a Private Collection, London, 2015, n. 9. Hight: 3,5 cmDiam.: 8,5 cm
A rare Famille-Rose 'Landscape' cup and coverQing Dynasty, 18th centuryOf square section, with canted corners and raised on a low tapering footFlanked by two iron-red archaistic handlesBeautifully painted on the exterior with a continuous landscape, at lake side, with pavillions, a variety of trees, moutains and a lonely figureThe interior is delicately decorated with four scattered flowersPierced hardwood cover from later date, with inlayed silver decoration and topped by a knob jade carved in the shape of a leafProvenance:Private collection;Roger Kevener - In: Roger Kevener, Fine and Rare Chinese Works of Art and Ceramics, Summer Exhibition 2007, London 2007, pp. 70-71, n. 58.Lenght: 11,5 cm
A CHARLES II EMBROIDERED STUMPWORK PANEL 17TH CENTURY The ivory ground finely embroidered in coloured silks and metal threads with a raised work noble family to the centre, beneath a raised and padded work mansion, and above a mermaid bathing amongst sea creatures in a watery grotto, all surrounded by large raised and padded work flowers, domestic and wild beasts, birds, insects the panel approximately 32 x 45.5cm, the later glazed frame 45 x 59cmProvenance:Property of a deceased estate in Merseyside. Probably originally hung at Balls Park, Hertford, the property of Sir Lionel Faudel-Phillips. This lot belongs to a small but distinct set of mid-17th century stumpwork panels characterised by the inclusion of a small scene of a mermaid bathing. Often, as with this lot, they illustrate the mermaid regarding herself in a hand-mirror. This motif seems to have been drawn from bestiaries and earlier psalters- with the suggestion that as 'femme fatales' the mirror is present as the mermaid grooms herself to appear more comely to approaching sailors.For similar please see an example (with a tail-less mermaid) in the Art Design and Fashion gallery, National Museum of Scotland. Also Metropolitan Museum, tortoiseshell framed embroidered mirror depicting Jael and Barak C.1672, Mrs. Thomas J. Watson Gift, 1939 (Accession Number: 39.13.2a).Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The frame is partially sealed to the reverse- corner lifting has indicated that the stumpwork has been wrapped around a panel, with some later edge banding visible to margins, and tacked to the edges.The panel with colour muting and some browning to silk field. In some areas the field has pulled revealing criss-cross weave- and with small areas where field is not taught and has sagged. There are some small scattered holes- indicative of old insect wear. Small spot and insect stains. Stumpwork still raised- and with raised leaf detailing scattered throughout. Some small pulled loose threadsThe glass underside is very dirty and frame tired and with lossesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Y A GEORGE III MAHOGANY, TULIPWOOD AND MARQUETRY SERPENTINE COMMODEIN THE MANNER OF PIERRE LANGLOIS, CIRCA 1770 The doors opening to a shelved interior76.5cm high, 113cm wide, 47.5cm deep The combination of the elegant bombe outline, marquetry, and gilt mounts seen on this piece are associated with the work of Pierre Langlois. A Royal cabinetmaker of Huguenot origin, known for producing fine English furniture in the French taste. For a commode of related form, attributed to Langlois, see Christie's, London, A London Season: Works of Art from a Private Collection in Eaton Square, 21st November 2018, Lot 50 (£62,500).
A SWISS 'BLACK FOREST' BEAR HALL STAND19TH OR EARLY 20TH CENTURYDepicting the mother bear wrapped around the base of the tree, and bear cub playing in the branches, the base incorporating a stick well205cm high, 70cm wide, 54cm deepAn almost identical hall stand sold Christies South Kensington, London, English and Continental Furniture and works of Art, 10th April 2002 Lot 271, £9988.Condition Report: There are scratches, scuffs, cracks and knocks consistent with age and use.Observations include; the staining worn in some places, for example to the snout and other protruding edges; there are cracks visible through the stain including along some sectional construction joints for example to the right arm of the main figure, the back of the main figure; some cracks to the edge of the drip pan area; some staining over some branch sectional joints, it is unclear if these are constructional or possible repairs.There is a sectional joint half way up the trees, though it does not appear to unscrew or lift off, it might be possible to dismantle the stand at this point.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A GEORGE II WALNUT LOWBOYIN THE MANNER OF GILES GRENDEY, CIRCA 173073cm high, 79cm wide, 48cm deepProvenance: Private Collection, LondonThe carved shell and bellflower motif to the cabriole legs on this piece is seen on the legs tables and chairs by the renowned cabinet maker Giles Grendey. For a chair by Grendey incorporating similar carving to the knees, see Christopher Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Furniture History Society, 1996, page 242, figure 435, and for a set of six chairs with this feature and attributed to Grendey, see Christie's, London, The Collector: English Furniture, Clocks & Works of Art, 15th November 2007, Lot 153 (£37,500).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. Old veneer repairs with some sections of inset replacement timber and filler used in places - see images. Line of later supporting blocks to the underside of the top. Old glued repairs to the scrolls of the apron and to one back foot. Rear feet have been flattened at one side to sit against a wall - this is an old adaptation. Some evidence of old worm. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Natural History Books: A Group of Books Relating to Taxidermy & Natural History, seven various hardback and paperback book son various taxidermy and natural history including - Drawn From paradise, the discovery, art & natural history of the birds of paradise, David Attenborough & Errol Full, signed copy by both authors, 2012, - A History of Taxidermy: art, science and bad taste, hardback copy, P.A. Morris, 2012, - A History of Taxidermy: art, science and bad taste, paperback copy, P.A. Morris, 2012, - Walter Potter and his Museum of Curious Taxidermy, P.A. Morris, 2008, paperback copy, - The Breathless Zoo, Taxidermy and Cultures of Longing, Rachel Poliquin, 2012, hardback copy, - Taxidermy, Alexis Turner, 2013, signed by author hardback copy, - A Message From Martha ,the Extinction of the Passenger Pigeon and it's relevance today, Mark Avery, 2014, hardback copy, (7).
A very rare Beilby enamelled Masonic firing tumbler, dated 1768Of attractive small size, the waisted cylindrical form with a solid firing base, inscribed 'PT 1768' in opaque white to one side, the other painted with Masonic emblems in red and yellow overlapping sprays of white grasses, the sides with further emblems including a key and pair of compasses, a continuous undulating band of flowering foliage in white below the rim, 8cm highFootnotes:ProvenanceChristie's, 7 July 2005, lot 787 (part)Chris Crabtree Collection, Bonhams, 19 May 2010, lot 48Stephen Pohlmann CollectionLiteratureStephen Pohlmann, 'Masonic Beilbys', Glass Circle News, no.127 (November 2011), pp.12-13, figs.1-3, 5 and coverThis glass is from a celebrated set of Masonic firing tumblers, of which a handful are inscribed and dated 'PT 1768'. As both the inscribed and uninscribed examples have survived together, they would all appear to belong to the same original set. Including the present lot, four of these were discovered at a car boot fair in Brighton in 2005, two of which were inscribed 'PT 1768'. They were sold by Christie's on 7 July 2005, lot 78 and subsequently as single lots by Bonhams on 16 December 2009, lot 59, 19 May 2010, lots 43 and 48 (present lot), and 15 June 2011, lot 100.Two further uninscribed examples are in Corning Museum of Glass (inv. nos.51.2.156 and 79.2.66), one of which is illustrated by James Rush, The Ingenious Beilbys (1973), p.113, no.65. Another from the Peter Lazarus Collection and latterly the Terence Woodfield Collection was exhibited at the Laing Art Gallery, The Decorated Glasses of William and Mary Beilby (1980), no.69. A further pair, of which one was inscribed 'PT 1768', was discovered in a provincial auction in Kent in January 2019. Another from the Pohlmann Collection constitutes lot 34 in the sale.At least ten firing tumblers in this small size are therefore recorded, of which just three bear the inscription 'PT 1768' including the present lot. To this can be added a tumbler of much larger size in the British Museum (inv. no.1946,0707.1), also inscribed and dated 'PT 1768', illustrated and discussed alongside the present lot by Pohlmann (2011), pp.12-13, figs.3 and 5. See also the tumbler from the Darell Thompson-Schwab Collection sold by Bonhams on 21 June 2022, lot 120 which is perhaps also related. Whilst the identity of 'PT' remains unknown, it seems likely that the Lodge or individual for whom they were commissioned was based in the southeast of England considering that four were discovered in East Sussex and two in Kent.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
A Derby botanical plate by William 'Quaker' Pegg, circa 1813-15The centre fully painted in distinctive style with a 'Moss Rose', the fully open pink rose flanked by two thorny buds, the border with a band of vine leaves, the rim left ungilded, 22.5cm diam, crown, crossed batons and D mark in redFootnotes:See the celebrated 'Thistle Dish' in the Derby Museum and Art Gallery, painted by Pegg from life and also ungilded on the rim.For further information on this lot please visit Bonhams.com
A very rare Beilby enamelled colour twist cordial glass, circa 1765-70The small round funnel bowl with a solid base, painted in opaque white with a border of fruiting vine, on a tall stem with a pair of opaque white spiral threads encircling a rich cobalt-blue undulating core, over a conical foot, 17.4cm highFootnotes:ProvenanceThe Earl of Belmore, Castle Coole, Christie's, 7 October 1980, lot 206With Asprey, 4 April 1981Peter Meyer Collection, Bonhams, 1 May 2013, lot 64Stephen Pohlmann CollectionExhibitedLaing Art Gallery, Newcastle-upon-Tyne (inv. no.TWCMS:F5576)This remarkable glass is one of three that survived together as a set at Castle Coole in Northern Ireland, sold by Christie's on 7 October 1980, lots 204-206. One of these is in the Durrington Collection, illustrated in Roger Dodsworth's catalogue (2006), p.39, no.34 and also by L M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.343, no.1120. A similar cordial glass with a flute-moulded bowl is in the Fitzwilliam Museum (inv. no.C.586-1961) and a second from this set is in Corning Museum of Glass (inv. no.50.2.9), illustrated by James Rush, The Ingenious Beilbys (1973), p.22, no.9a. A further example, also with a flute-moulded bowl, is in the Turnbull Bequest at Mompesson House, Wiltshire (inv. no.NT 723892).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
A Flight, Barr and Barr Worcester 'Warwick' vase, circa 1815-20Probably painted by Thomas Lowe, of classic campana form with double entwined and gilded handles, raised on a square foot, the rim with egg and dart moulding, painted on both sides with a figural panel, one depicting the 'Maid of Orleans', the other 'Ferdinand and Miranda', the deep blue ground with very intricate gold tracery and anthemion borders, 25cm high, impressed crowned FBB mark and full script mark including Coventry St address, the panels titled in similar scriptFootnotes:ProvenanceLord and Lady Flight CollectionThe panels are close to the hand of Thomas Baxter. After his departure, Baxter wrote to a friend mentioning that the figure painting at Flights 'is now done by a pupil of mine named Lowe'. Thomas Lowe had been a pupil at Baxter's china painting school in Worcester and, according to Solomon Cole, Lowe went on to 'higher branches of their art afterwards'.For further information on this lot please visit Bonhams.com
An exceptional Dutch stipple-engraved light baluster goblet by 'Alius', circa 1760-80The generous round funnel bowl finely decorated with a chinoiserie scene depicting an elderly Chinese gentleman seated on a stool before a tree, playing a Chinese lute or pipa with both hands, the hairs of his beard and moustache picked out with fine lines in diamond-point, accompanied by a boy playing a Bianzhong comprising a set of musical bells suspended from an arch, the tall multi-knopped stem with an upper beaded dumbbell above an inverted baluster containing an elongated tear extending into the basal knop, over a conical foot, 22cm highFootnotes:ProvenanceJ van Buren Collection, Scheurleer, The Hague, 11 December 1808, lot 98, purchased by Hultman for 15 guildersBoom Collection, BredaJoseph Gregory Littledale Collection, WeybridgeAnthony Waugh Collection, Wolverhampton, Sotheby's, 28 April 1980, lot 209With Ward Lloyd, LondonMühleib Collection, Bonhams, 2 May 2013, lot 58With Kunsthandel Jacques Fijnaut, 13 March 2018Stephen Pohlmann CollectionLiteratureD H de Castro, 'Een en ander over glasgravure', Oud-Holland 1(4) (1883), p.285, pl.1883 Wilfred Buckley, D Wolff and the Glasses that he Engraved (1935), p.30Hugh Tait, ''Wolff' glasses in an English private collection', Connoisseur 168 (1968), p.105, figs.5 and 6George Turnbull and Anthony Herron, The Price Guide to English 18th Century Drinking Glasses (1970), p.78, Group 4, no.4/13Frank Davis, 'Talking About Salerooms', Country Life, Vol.168 (August 1980), p.687F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.106, no.Ch.18Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.22, fig.5Exhibited300 Years of British Glass 1675-1975, Wolverhampton Art Gallery and Museum, 14 June 1975, no.208Kunsthandel Jacques Fijnaut BV, TEFAF Maastricht, 10-19 March 2017, catalogue p.240Although he never signed any of his engravings, 'Alius' was one of the most important Dutch master glass engravers of the 18th century. The incredible lightness of touch which he so breathtakingly achieved on this goblet demonstrates the remarkable degree to which this engraver mastered the stipple technique. It is perhaps no surprise that for many years this piece was considered to be the work of his contemporary, David Wolff.In his 1935 monograph on Wolff, Wilfred Buckley identified a group of glasses which he considered to be of higher quality both technically and artistically, with finer stippling and better draughtsmanship, than examples signed by Wolff himself, see p.26 and 'Group C'. These were subsequently attributed to 'Alius' in Frans Smit's 1993 catalogue. Whilst there are close similarities between the designs chosen by both engravers and they may have worked in association with one another, 'Alius' is the only Dutch engraver known to have stippled chinoiseries on glass and he attained a level of skill which undoubtedly surpassed that of Wolff.Only six other glasses stippled with chinoiseries by 'Alius' are recorded including the present lot, all of which incorporate the full-length figure of a Chinese gentleman. Two of these are similarly decorated with musical scenes in which an elderly seated man plays a Chinese lute or pipa. This includes a light baluster goblet of similar form to the present lot in the Brunnier Art Museum (Smit no.Eb.28) and a facet stem goblet in the Metropolitan Museum of Art (Smit no.Ch.19). Another goblet of similar size and form to the present lot but decorated with a different chinoiserie scene (Smit no.Ch.20) is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.258, no.293. The remaining two chinoiserie decorated goblets recorded include an opaque twist example in the Rijksmuseum (Smit no.Ch.17) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.432, no.548 and a further facet stem example in the Manoir de Saussey (Smit no.Ci.28).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
A very rare Dutch stipple-engraved opaque twist 'Friendship' glass by David Wolff, circa 1770The generous round funnel bowl delicately decorated with two smartly dressed boys shaking hands, one raising a half-filled long-stemmed wine glass held in his left hand in a toast, various small trees and shrubs behind, beneath a banderol inscribed 'VRIENDSCHAP', the double-series stem with a pair of opaque white spiral threads around an undulating gauze column, over a conical foot, 16.7cm highFootnotes:ProvenanceMak van Waay, Amsterdam, 1 April 1951, lot 780With Cecil DavisJeffrey Rose Collection, Sotheby's, 6 March 1978, lot 62Stephen Pohlmann CollectionLiteratureFrank Davis, 'Talking about Salerooms', Country Life, Vol.163 (March 1978), p.1062, fig.2P M Wood, 'Gentlemen - The King', Art and Antiques, Vol.39 (1979), p.23J A Brooks, The Arthur Negus Guide to British Glass (1981), fig.116F G A M Smit, Uniquely Dutch Eighteenth-Century Dutch Stipple-Engravings on Glass (1993), p.69, no.Cb.24ExhibitedCircle of Glass Collectors Commemorative Exhibition 1937-1962, Victoria and Albert Museum, 1962, no.306Exhibition of English Glass, Victoria and Albert Museum, 1968, no.167Friendship was highly valued in the 18th century and the bond between friends would have been sealed and resealed with toasts from specially engraved goblets such as this. Friendship was often symbolically portrayed, sometimes as putti or cherubs, but more commonly as two boys. As is the case on this particularly finely decorated glass, the majority of boys depicted on Dutch stipple-engraved 'Friendship' glasses are shown with a wine glass, sometimes also shaking hands.Opaque twist glasses with Dutch stipple engraving are rare and this is a particularly unusual choice of glass for Wolff. Only six such glasses engraved by him are recorded by Smit (1993), four of which are of comparable size and form to the present lot with straight double-series stems. They include no.Cb.2, similarly decorated with two boys shaking hands, and no.Ac.19 which is illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.455, no.574. An opaque twist wine glass with a very similar scene and an identical inscription by 'Alius' was in the Kaplan Collection, sold by Bonhams on 15 November 2017, lot 73. For another 'Friendship' glass engraved by David Wolff, see lot 55 in this sale.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
A rare and unusual cut and engraved opaque twist wine glass, circa 1765The bell bowl elaborately decorated with swags of fruit and flowers suspended by three pigtailed female masks, their hair issuing elaborate acanthus scrollwork, a polished 'OXO' border below the rim, the base cut with three large stiff leaves in high relief with engraved veining, issuing elaborate stylised floral palmettes, the double-series stem with gauze core within a pair of spiral tapes, deeply cut with a spiral twist, the step-cut conical foot with a scalloped edge and decorated with a band of polished circlets within radiating lines to the underside, 15.9cm highFootnotes:ProvenanceWalter F Smith Collection, Pennypacker Auction Centre, Pennsylvania, 1968Dwight P Lanmon CollectionWith Alan TillmanPeter Lazarus Collection, Christies, 26 November 1991, lot 141A C Hubbard Jr Collection, 30 November 2011, lot 126Stephen Pohlmann CollectionLiteratureArthur Churchill, Glass Notes, no.10 (December 1950), p.7, fig.9ExhibitedBristol Museum and Art Gallery, loan no.173This remarkable glass would appear to be unique. The profuse style of the decoration and many of the motifs, including the use of mask heads, swags of fruit and flowers, palmettes and foliate scroll decoration, is seen on much glass engraved in Silesia and northern Bohemia in the earlier part of the 18th century. Whilst the date of the decoration remains unclear, it seems likely that a continental hand was responsible, probably Bohemian and perhaps working in England.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
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