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Lot 112
Good French violin by and labelled Paul Bailly, Violin Maker, Pupil of Jean Baptiste Vuillaume, 86, Wardour Street, London, W. no. 764 (ten medals - gold, silver, and bronze); also inscribed on the back under the sound post No.764, Paul Bailly 1892, the two piece back of medium curl with broad curl to the sides and head, the table of a fine width grain widening to the flanks and the varnish of a reddish-brown colour on a golden ground 14 1/16", 35.70cm
Lot 293
Sydney Alex Kumalo (South African 1935-1988) HEAD signed and dated 72 clay height: 36cm Sydney Kumalo was born and bred in Soweto. Kumalo recounts his first interactions with fine art as accompanying his father, who was a house painter, to the homes of the ‘white’ suburbs of Johannesburg after school. There he would revell in the collections of the home owners, fascinated by the paintings and sculpture they chose to surround themselves with. After these trips, Kumalo would spend hours drawing, fresh with his new found inspiration. His talent was soon recognised in his high school art classes and he was swiftly recommended to attend the Polly Street Art Centre, where such luminaries as Cecil Skotnes and Edoardo Villa practiced. Kumalo progressed so quickly under the watchful tutelage of Cecil Skotnes that by 1954, the very next year after he had come to work at Polly Street, he was included in the centre’s exhibition of drawings and watercolours. Many formal and informal shows would follow after this, and soon, Kumalo’s name would become unanimous with that of the Polly Street Art Centre. In his capacity as Cecil Skotnes’ assistant, Kumalo would essentially take the role of running the art school while also teaching art classes there. Unfortunately, under the apartheid regime, his job title would never rise above the station of ‘assistant,’ despite his capabilities, and indeed, his managerial finesse. Kumalo would go on to become a founding member of the Amadlozi Group, promoted by Egon Guenther, the gallerist of choice for the group’s artists. Guenther insisted that he would only represent artists that reflected his ideal of high standards, encouraging his artists to destroy anything to the contrary.¹ As part of the group Kumalo would come to exhibit in Italy in 1963 and 1964, sell work through the Grosvenor Gallery in London during the mid 60s, and represent South Africa at the Venice and São Paulo Biennales in 1966 and 1967 respectively. Skotnes, witnessing Kumalo’s great talent as a sculptor arranged for Kumalo to work privately with Edoardo Villa twice a week. Villa taught Kumalo the proper use of armatures to support his clay sculptures, allowing him to attempt larger and more complex pieces. Furthermore, Villa was integral in encouraging Kumalo to use plaster of Paris, a less fragile medium than clay, and to cast his work in the far more durable medium of bronze. It is of interest that Head was modelled after 1958, the year in which Kumalo began studying under Villa, as it is made out of brick clay, the medium used at Polly Street due to its wide availability in the City of Johannesburg at the time, and not the plaster of Paris or cast bronze that Villa championed. We can reasonably assume that Kumalo continued in the medium of clay due to its additive and highly malleable properties. In Head, one sees the influence of the Traditional West African Art that Kumalo would have been exposed to by Egon Guenther. Guenther was quick to mention of Kumalo that he had already established a very strong personal style which already had remarkable African overtones, before his exposure to the art of West Africa.² “It is true that there were masks exhibited in his first exhibition, and that his figures suggest something of the emphasis on the head and the shortening of the limbs that are associated with the proportions of African carvings, but a sense of tension is created in a personal and varied way in Kumalo’s works, a response to the adaptability of the additive medium of clay.”³ - K. W. Burroughs, E. & Nel, K., Re/discovery and Memory: The works of Kumalo, Legae, Nitega & Villa, Norval Foundation, Cape Town 2018 Krell. A., Urban African Art in South Africa, unpublished M. A. F. A dissertation, University of Cape Town, 1972. Rankin, E. Personal Communication, December 1993 & January 1994 ¹ Rankin, E. Personal Communication, December 1993 & January 1994 ² Krell. A., Urban African Art in South Africa, unpublished M. A. F. A dissertation, University of Cape Town, 1972, p 49 ³ Rankin, E., in Burroughs, E. & Nel, K., Re/discovery and Memory: The Works of Kumalo, Legae, Nitega & Villa, Norval Foundation, Cape Town 2018
Lot 401
A FRENCH BRONZE ORMOLU MANTEL CLOCK, 19TH CENTURY BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR CLOCKS PURCHASED the 8cm white enamelled circular dial with Roman hour and Arabic minute numerals, bell striking movement, the backplate stamped with a Japy Frères & Cie medal, the dial surmounted by two birds perched on a floral wreath, the dial flanked by a pair of putti amongst foliage and floral designs, on a scrolled and pierced plinth base, restorations 53,5cm high
Lot 92
bronze linked with a chain 8cm high (2)PROVENANCE Totem Meneghelli Gallery Valeria Ianigro"Brass edan were given to every member of the Ogboni/Osugbo society among the Yoruba. The edan were cast in brass or brpnze and always represented a pair of figures, one male and one female, joined by a chain. Each figure was mounted on a spike. They were worn around the necks of members of Ogboni and were deployed in a number of ways in disputes arbitrated by Ogboni." Nigerian Art: The Meneghelli Collection. 2002. Anitra Nettleon, Totem Gallerses, p.119. (2)
Lot 64
A collection of 5 ancient projectile points from around the world. The set includes a rare Aterian point from Egypt, ca. 45,000 - 30,000 BC, a colorful Neolithic point from the Western Sahara, ca. 5000 - 2000 BC, a bronze point from Luristan, ca. 800 BC, an obsidian point from Teotihuacan, Mexico, ca. 100 - 650 AD and a Woodland point from Ohio, ca. 1000 BC - 1000 AD. Nice group, mounted in Riker box.
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