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Lot 1312
A small cast bronze crucifix pendant, the reverse with the Virgin Mary with six stars around her head, with loop, 3cm high, with a later gold mount. A label states - `From Benin City: only 5 of these were found. My Aunt Edith has one. C.H. 1896.` Provenance: Cuthbert Eric Harrison and thence by decent. Cuthbert Harrison was a district officer in Brass in 1894 and the only white official who saw the Brass-Akassa massacre and the subsequent proceeding through from beginning to end.
Lot 44
LYNN CHADWICK (1914-2003), BRITISH MAQUETTE VIII, WALKING WOMAN, 1986 Bronze with black patination; stamped “C378”, dated “1986” and numbered “4/9” in the cast to the base. Together with a copy of the original receipt. Height approximately height 7"" — 17.8 cm. Provenance: Evelyn Amis Fine Art, Florida, accompanied by a copy of the original receipt, invoice #2170, dated 7 Feb. ‘98; from whom purchased by the present Private Collection, Toronto
Lot 95
MAQBOOL FIDA HUSAIN (1915-2011), INDIAN FERTILITY Oil on canvas; signed lower right, titled verso and inscribed number “H3-50/IC” 38.25"" x 50"" — 97.2 x 127 cm. Provenance: Private Collection, Montreal Note: Maqbool Fida Husain’s “Fertility” reinterprets the traditional Indian motif of the Mithuna or ""loving couple"", an iconic representation that first appeared in Indian sculpture over 2,000 years ago. Mithuna is understood to have multiple meanings, ranging from an obvious celebration of life`s pleasures to the more metaphorical symbolism of a human soul`s longing for union with the divine. Husain first painted the subject in his 1960 work ""Mithuna Bronze” and would return to the theme throughout his career. In every incarnation, Husain transforms and all but rejects the old image. In the traditional motif, male and female are typically depicted in a loving embrace. Husain’s interpretation, by contrast, presents the couple with a different dynamic: glancing in opposing directions, recumbent, their postures exude isolation rather than unity. According to Husain scholar Shiv. S. Kapur, there are two clearly discernible strains in Husain`s painting; one which celebrates the beauty of life in simple forms and joyous rhythms of colour, and another which speaks of social hypocrisy, guilt and repression of sensuality. The disconnect between the male and female figures may allude to an erosion of a traditionally affirmative response to life experience in the community and the increasingly internal disintegration of the individual in modern society. The juxtaposition of repression and celebration is also mirrored in the formal elements of ""Fertility."" The male figure in shades of grey appears cold and hard in contrast to his partner whose vibrant patches of colour and fiery yellow orb exude pulsating life. The traditionally positive connotations of the theme of “fertility” and new life contrasts strongly to the state of disconnect that appears to plague the subjects of this painting. The Mithuna, along with a preoccupation with the female figure, are two of the most recognizable motifs in Husain`s work which incorporate elements of classic Indian narratives as well as the influence of modern art`s inward-looking tendencies. Husain`s work reflects both upon the state of modern society while staying grounded in archetypal parables of life, love and death. Source: ""Husain"" Richard Barthomew and Shiv S. Kapur; Harry Abrams Inc., New York 1971
Lot 96
JACOB EPSTEIN (1921-2003), POLISH/ISRAELI A GIRL WITH AN APPLE, 1997 Bronze with green patination; signed. Number 2 from the edition of 4 castings. Accompanied by the certificate of authenticity and two books: “Jacob Epstein Sculptures” and “Jacob Epstein Theory of Observation” 19.5"" x 3.5"" x 9.1"" — 49.5 x 9 x 23 cm. Provenance: Family of the artist, Bat-Yam, Israel Literature: The two monographs accompanying this lot include: Bella Carmely and Rachel Epstein Ben Tov, “Jacob Epstein Sculptures,” “Nativ Bahomer” Association, a bronze from this edition illustrated in colour; and Dr. Dorit Kedar, “Jacob Epstein/Theory of Observation”
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