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Click here to subscribeA Butchers Famous Cameras Popular Pressman plate camera with a 6 7/8 inches f/4.5 No 85258 T.-P, Cooke Anastigmat Lens T T & H Ltd, supplied by Wallace Heaton Ltd London W1, an F Deckel-Munchen COMPUR folding plate camera, a SIX-20 BROWNIE Junior camera, a Portrait Hawkeye No.2 camera and an Ensign camera case.
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Resurrection signed, dated and inscribed 'TRETCHIKOFF/ SA/ 53' (lower left)oil on linen85.5 x 108.5cm (33 11/16 x 42 11/16in).Footnotes:ProvenanceToronto, Eaton's, American and Canadian Tour Exhibition, September 1954;Private Collection of Jack Hammell (acquired from the above exhibition);Private Collection, Ontario;Waddington's, Toronto, 29 November 1984;A private collection.ExhibitionCape Town; Johannesburg; Durban, Stuttafords Department Store, South African Tour Exhibition, September - November 1952San Jose, CA, Rosicrucian Art Gallery, June 1953USA; Canada, American and Canadian Tour Exhibition, 1953-1954.LiteratureV. Tretchikoff and H. Timmins, Tretchikoff (Cape Town, 1969), n.p (illustrated)Vladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205 (illustrated, pp. 134 & 136)Andrew Lamprecht, ed., Tretchikoff: The People's Painter (Jeppestown, 2011), p. 166 (illustrated)Boris Gorelik, Incredible Tretchikoff: Life of an Artist and Adventurer (London, 2013), p. 288 (illustrated, p. 138).In 1952, when Tretchikoff was preparing for his first show in America which would launch his international career, a Cape Town director asked him to star in a film. It would be a documentary set in the artist's studio, showing the birth of an artwork from the first sketches to the painted canvas. Tretchikoff accepted the challenge. Although it meant working under the penetrating gaze of the camera, he decided that he could use the colour film to promote his work in the United States. The resultant documentary, Birth of a Painting, traced the creation of Resurrection (1955).At the time, Tretchikoff was fascinated by the idea that, when dying, the old gives way to the new - a theme explored by the artist in Resurrection. 'The painting was to symbolise the emergence of the soul from the body', recounted Tretchikoff. 'I painted a young girl awaking as if from a dream, the reincarnation of the gaunt, black, crooked body that she had been' (V. Tretchikoff and A. Hocking, 1973: p. 205).Cape Town papers reported that the artist's wife, Natalie, acted as a model for the painting. 'I was so cold, it was a wonder I did not get pneumonia', she told the press. However, the existing footage indicates that another nude model sat for Tretchikoff during the filmed sessions.Resurrection was first exhibited during Tretchikoff's tour of South Africa in 1952. The following year, it was taken to California and included in his show at the Rosicrucian Gallery, San Jose. The startling Resurrection was one of the highlights of this exhibition, and reproductions of the work were available for sale. At all of the public talks and lectures to promote the artist's American debut, Tretchikoff showed the Birth of Painting documentary, asserting the significance of Resurrection within his artmaking practice at this time.The commercial success of the San Jose show enabled Tretchikoff to hold a tour of the United States and Canada, which lasted for nearly two years. In September 1954, among the 52,000 visitors who attended his exhibition at Eaton's Toronto, 'Canada's Greatest Store', was the mining magnate Jack Hammell. He became the first owner of Resurrection.Along with Resurrection, Hammell purchased several paintings by Tretchikoff that day, including the iconic Dying Swan (1949). Later, the artist learnt that this prominent collector had only one painting in his private suite: it used to be a Titian, but had been replaced with Resurrection. The 1969 volume of Tretchikoff's works indicates that the painting subsequently belonged to John McKay-Clements of Haileybury in North-eastern Ontario (now part of Temiskaming Shores). Apparently, the new owner purchased the work from Hammell's heirs after 1958. Resurrection first came to auction in 1984, when it was sold by Waddington's in Toronto. For nearly seventy years, this work, highly valued by the artist, has remained in private collections. We are grateful to Boris Gorelik for the composition of the above footnote.BibliographyVladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205.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
Wangechi Mutu (Kenyan, born 1972)Studies of Crystal Waters (i-iii): (i) watercolour on card30.5 x 22cm (12 x 8 11/16in).(ii) watercolour and foil on card29.5 x 22cm (11 5/8 x 8 11/16in).(iii) ink on card30.5 x 22.7cm (12 x 8 15/16in).(3)Footnotes:These drawings were executed by Wangechi Mutu in 2001. They formed part of a commission to create watercolour storyboard illustrations and the styling for a photoshoot for a fashion lookbook featuring pioneer, innovator, and dance music legend Crystal Waters.Fashion photographer Jason Mickle interpreted the artist's watercolours through the lens of his camera creating the shots seen in the lookbook at the Giraffe Hotel in New York. Jason Mickle was also used by Crystal Waters for the cover shoot of her song Come on Down.For further information on this lot please visit Bonhams.com
A selection of silver jewellery to include a Victorian/Edwardian bracelet decorated with panels of Niello work flanking a central heart shaped panel with engraved name 'Mother' and leaf design, each panel surrounded by open filigree work, a Siam silver bracelet and brooch, various charms to include a paddle steamer, and vintage camera, and other itemsLocation:
Piranesi (Giovanni Battista, 1720-1788). Veduta interna della Camera Sepocrale nella Vigna Casali a Porto S. Sebastiano (from Le Antichita Romane), 1756, etching, probably published between 1756 and 1784, a very good impression, on laid paper, with margins, minor, pale spotting and discolouration in the margins, plate size 37.8 x 50.4 cm (14 7/8 x 19 7/8 ins), sheet size 51 x 67.8 cm (20 1/8 x 26 3/4 ins), fine gilt frame by Guido of Boston (61.5 x 75 cm) Qty: (1)Footnote: Literature: Wilton-Ely 413.
GAYLORD SOLI (Dakota, USA, 1939)."Mariam, 2017.Oil on canvas.Signed, dated and titled on the back.Certificate of authenticity enclosed.Size: 67 x 61 cm; 97 x 81 cm (frame).Gaylord Soli's artistic production is imbued with a feeling of freedom and spontaneity in both image and technique. Thematically, an idea is allowed to metamorphose, expand and grow as the work is executed. The works he creates are based on his years of travels in Mongolia, Pakistan, Iran and the Amazon basin, and his lifelong fascination with primitive cultures. As the present work exemplifies, with a rich palate, he layers, sketches and textures his canvases in a unique kinship with early artistic and organic processes. His paintings show the influence of Picasso, Tamayo, Auerbach and Hans Hoffman, and are informed by a deep love of music and the spiritual.Gaylord Soli was born in 1939 on a farm in North Dakota, shortly after his parents emigrated from Oslo, Norway. At the age of three, Gaylord's family moved to Los Angeles, California. He has made Southern California his home ever since, and currently works daily in his studio in Orang County. Much of Gaylord's early years were spent on adventures around the world. These missions ranged from camera safaris to the Kalahari Desert in Africa, anthropological research on the native tribes of the Amazon River, studies of the Mayan ruins of Chitchen Itza on the Yukatan Peninsula, and the ancient world of Alexander the Great from Syria to Mongolia. All of these places and experiences have had a causal effect leading to the exotic overtones, the romantic spirit and, at times, a primitive quintessence found in Gaylord's paintings. Gaylord himself is quoted as acknowledging the profound influence these early experiences have on his art: "I have been fortunate to have travelled extensively around the world. This has allowed me to explore and experience primitive cultures. I think my art reflects these experiences. Having built a series of successful businesses around his passion for art and design, Gaylord Soli founded Clearwater Publishing in the 1980s and began producing high quality screen prints for fine artists such as Ivan Earl, Richard Diebenkorn, Mel Ramos and Peter Max.
A Rolleiflex 2.8GX Special Edition Model 'Expression' twin lens reflex camera: serial number '2013850', fitted Rollei Planar HFT 2.8/80, bayonet 3, lens and Rollei Heidosmat 2.8/80, bayonet 3 viewing lens grey suede effect finish , in a black leather case in original box.*Notes- Produced as a special edition of 500 celebrating 65 years of Rollei TLR cameras, This model produced from March 1994 to January 1995
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