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Lot 337
Full title: Herman Van Nazareth (1936): Untitled, patinated bronzeDescription:H 58,1 cm Herman van Nazareth (pseudonym of Herman van Aerde, °1936, Evergem) enrolled at the Royal Academy of Ghent (1961-1962), the Royal Academy of Antwerp (1963-1964) and the Michaelis School of Fine Arts, University Cape Town, South Africa (1965-1967). Furthermore, he was trained bij Floris Jespers (1964). Since 1966 onwards, he won several prices and awards (Honourable Mention, S.A. Art Today, Durban, 1966; Prize at the Cape Salon, Cape Town, 1967; Campoprijs, Special Prize of the Royal Academie of Fine Art, Antwerp, 1972; Bronze Medal at 'Europaprijs voor Schilderkunst', Oostend, Belgium, 1973; Anto Carte Prize,â€Paleis voor Schone Kunstenâ€, Brussels, 1974). He occupies a unique position in the South African art scene. Due to his discourse, which is a protest against dehumanisation, he can be considered a precursor of humanitarian commitment in art. His works are part of numerous Belgian and South African private and public art collections. (link) Ref.: - P. Boyens,'Herman van Nazareth. Beeldhouwer', Stichting Kunstboek, pp. 80-81.Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
Lot 464
- Coty - Asuma, mini round flacon. - Coty - L'Origan, small flacon, circa 1905. - Vigny Perfume, circa 1936, small flacon. - Coup del Feu - mini flacon with Arabian cape and stopper is of an Arabian head. - Helena Rubinstein - Heaven Scent- solid perfume essence. (Misc - 1012, 1001, 1040, 86, 1004, 1005) Provenance: single owner lifetime collection from Jacksonville, FL - Entire collection has been donated to St. Elizabeth Ann Seton Catholic Church where the proceeds will be used to install a new roof for St. Elizabeth Ann Seton Catholic Church, Palm Coast, FL 32164, which will cost approximately $2 million. - The descriptions for these lots have been comprised from the collectors notes along with extensive research that was done by an associate of the church. We used these notes to help reference and list these items. Please be aware that the descriptions are only guides and the items are being sold as photographed and we are not held liable for any inaccuracies. ALL SALES WILL BE FINAL. - If there were any noticeable condition issues on the bottles or removable stoppers, we tried our best to photograph and show said damage. Please check all images as even if no issues are listed in the description this does not indicate lack of wear and tear. - We cannot guarentee the contents of the bottles, these pieces have been collected over a lifetime and some have liquid inside of them. Just because there is liquid inside does not guarentee that it is the correct perfume for the bottle itself. Pleasase also be aware that bottles may have to be emptied for shipping purposes which will be dictated by your location and shipping restrictions. We are not held liable for the contents of the bottles as they are being sold AS-IS
Lot 161
A ladies cream fur bolero style jacket, together with a cream fur short cape and a brown fur shrug, (3) jacket approx. 38" with some minor marks to frontbrown shrug - 'cape' style with shaped shoulders and splits for arms Please also see additional images that have been uploaded, as requested. Kind regards Angela
Lot 227
λ Westley Richards: a .450 (No2) improved Martini sporting rifle, serial number 1906, barrel 30.75 in., 'Cape' back sight with five folding leaves (50, 100, 200, 300 & 400 yards) and an adjustable ladder, barrel marked 'HENRY'S PATENT RIFLING' and 'FOR No 2 CASE', fore sight block (lacking sight element) scroll engraved action with safety lever to the right side and 'WESTLEY RICHARDS PATENT RIFLE 170 NEW BOND STREET LONDON' to the left, wooden clearing rod held in pipes to the under-rib and having an extension piece in the butt trap. Section 58(2) - no licence required if possessed as a curiosity or ornament.122cm OAL
Lot 2059
Small selection of vintage clothing including Laura Ashley Made in Wales purple corduroy circular sleeved cape, DollyRockers black lace mini dress, 1950s printed blue chiffon dress with full skirt, St Michael's striped sleeveless mini dress, 1970s Monet floral dress and short black leather coat.Laura Ashley cape is in good condition as is the green striped dress and the blue Global dress, the leather coat is showing its age The Monet dress is good except one button needs to be stitched back and one button is missing, the black lace dress is also in good condition except a missing button and the button holes need a little attention.
Lot 2128
Three ostrich feather fans (in need of attention) plus a box of loose ostrich feathers and a cape with ostrich feathers. Victorian white metal frame velvet evening bag, French black sequin evening bag with metal and bead frame, two gold tone powder compacts and a gold tone vanity compact. Pair of long kid leather gloves.Fans have some loose feathers and damaged sticks. The cape is in good condition.
Lot 6
Five medals to Sergeant Charles Eugene Sullivan, 32nd Battalion Imperial Yeomanry and 18th Battalion London Regiment: Queen's South Africa, second type, 2 clasps: Cape Colony, South Africa 1902 (42562 CPL: TPTR: C. E. SULLIVAN. 32ND BN: IMP: YEO:), official alterations to number and unit, good very fine; British War Medal 1914-20 and Victory Medal (591105 SJT. C. E. SULLIVAN. 18-LOND.R.), very fine; Coronation 1937 (C. E. SULLIVAN. M/H.), privately engraved in plain capitals, about very fine; Imperial Service Medal, George VI (CHARLES EUGENE SULLIVAN.), nearly extremely fine, mounted for wearing. [5]First medal 36mm diameterThe Paul Morrissey CollectionCoronation 1937 and ISM (L.G. 14/04/1939) as Assistant Office Keeper, Ministry of Health.
Lot 23
Of importance to aviation history: the Decorations and Medals to Wing Commander Gilbert George Herbert Cooke, D.S.C., A.F.C., R.N., R.N.A.S. and R.A.F., who served as navigator in Airship R. 34 for her historic double transatlantic flight in July 1919: Distinguished Service Cross, George V, reverse privately engraved "LIEUTENANT COMMANDER G G H COOKE. RN. 3RD MAY 1918"; Air Force Cross, George V, unnamed as issued; 1914-15 Star (LIEUT. G. G. H. COOKE. R.N.); British War Medal 1914-20 and Victory Medal with oak leaf (MAJOR G. G. H. COOKE. R.A.F.); Defence Medal and War Medal 1939-45; very fine or nearly so, [7]; accompanied by a dress miniature medal representing each of the first five awards; together with a copy of the Commanding Officer's report on the flight of the R. 34 incorporating a contribution from the recipient, a group portrait photograph of the crew of the R34 with other officers and civilians in the United States, a North Atlantic Route Chart from among the recipient's effects, a copy of a uniformed photograph of the recipient, and a small quantity of copy research. Round medals 36mm diameter Gilbert George Herbert Cooke was born on the 28th March 1886, at Thong, near Gravesend in Kent. He entered the Royal Navy as a Midshipman in September 1902, progressing to Lieutenant in November 1907. His career in naval aviation commenced in February 1912 when he was posted to H.M.S. Dryad (shore establishment) for an airship course, but the outbreak of the First World War found him serving in H.M.S. Chatham in the Mediterranean. Chatham had an eventful start to the war, participating in the hunt for the German ships Goeben and Breslau, and being deployed against the light cruiser Königsberg in the East African theatre. She returned to the Mediterranean in 1915 to support the Helles landings, and Lieutenant Cooke transferred to H.M.S. Europa and served under Commander (later Vice Admiral) Henry Percy Douglas in surveying the Cape Helles beaches. He returned to the UK in November 1915, was promoted to Lieutenant Commander, and resumed aviation work. He married his wife Henrietta in March 1916, and was appointed Flight Commander in February 1917. His D.S.O. was gazetted on the 1st May 1918 "For zeal and devotion to duty during period 1st July - 31st December 1917", during which time he was stationed at RNAS Pulham "Training in Parcevals", at Cranwell ("Flying Duties"), and at RNAS Daedalus at Lee-on-Solent.The historic flight of Airship R. 34, (for which the recipient (now Captain (A/Major) was the navigator), was a pioneering achievement that took place between the 2nd and the 13th July 1919. The vessel encountered adverse weather conditions in the first ever East to West aerial crossing of the Atlantic, and arrived at Mineola, U.S.A., dangerously short of fuel. On the return flight she was diverted to Pulham, again owing to foul weather.Following his return Gilbert Cooke was Commissioned Squadron Leader R.A.F. (01/08/1919) and awarded the Air Force Cross (London Gazette 22/08/1919) for "..distinguished services to Aviation, in the successful voyages of Airship R. 34 from the United Kingdom to the United States of America and back". He was promoted to Wing Commander in 1925.According to family tradition, the interesting combination of D.S.C. and A.F.C. aroused suspicion in the mind of a civilian who observed Cooke's medal ribbons as he travelled by train, in uniform, during the Second World War. Knowing enough to recognise the ribbons, but not enough to reconcile a Royal Navy award with an RAF award, he mistakenly concluded that Cooke was wearing them fraudulently, and summoned the police to apprehend him.
Lot 324
Royal Buckinghamshire Yeomanry: a collection of officer's uniform items, including: a full dress jacket, two mess jackets, a mess vest, a No 1 dress jacket with mail epaulettes and Second World War medal ribbons; No 1 trousers (2); a blue cloth cape, with RBY buttons; two pairs of mess wellingtons, complete with wooden trees; and other items. [qty]Edmund de Rothschild (1916-2009)The Trustees of Exbury House
Lot 37
The Meritorious Service Medal group of seven to Sergeant Henry Powell, King's Own Scottish Borderers: Egypt and Sudan, undated reverse, clasp: Gemaizah 1888 (2034 P[TE] H. POWELL, 2/K.O. SCO: BORD:), engraved in serif capitals; India General Service 1895-1902, Victoria, 3 clasps: Relief of Chitral 1895, Punjab Frontier 1897-98, Tirah 1897-98 (2 [034] Pte H Powell 2d Bn K.O. Sco: [Bord]); Queen's South Africa, second type, 3 clasps: Cape Colony, Paardeberg, Johannesburg (2034. PTE H. POWELL. K.O. SCOT: BORD:); King's South Africa, both dated clasps (2034 CORPL: H. POWELL. K.O. SCOT: BORD:); Meritorious Service Medal, George V (SJT: H. POWELL. K.O.S.B.); Army Long Service and Good Conduct, Edward VII (2034 SJT. H. POWELL. K.O.S.B.); Khedive's Star, undated; very heavily worn and pitted, most with loose suspensions (7); together with a silver Corps of Commissionaires badge, oval with a wreath border, reverse engraved 'TO SERGEANT H. POWELL 1926'; and an Old Boys Corps cap badge. [9]Round medals 36mm diameter
Lot 104
Literature - a collection of mostly early 20th century literature and poetry books. The lot to include the 1902 Letters of Robert Browning and Elizabeth Barrett in two volumes published by Harper & Brothers, 1941 Selected Poems by Vita Sackville-West by the Hogarth Press, 1923 Echo de Paris a Study from Life by Laurence Housman, being a signed numbered limited edition of 250 published by Jonathan Cape and with the ownership bookplate of Cuthbert Headlam, 1911 Sonnets by Lucilla publ. Elkin Matthews, 1930 Dolphin Books edition of Vulgarity in Literature by Aldous Huxley, a signed & inscribed 1918 Early Poems by Anthony Crossley published at Eton, and a 1947 Scott-King's Modern Europe by Evelyn Waugh publ. Chapman and Hall. amongst other titles. Approx. 13 books in total.
Lot 334
TWO ANTIQUE POWDER-HORNS, ONE WITH POSSIBLE WHALING INTEREST, both late 18th to early 19th century, the first with conical brass spout engraved with linear bands and with spring closure and wood base cape with central screw plug, the body marked with an incised broad arrow, the second possibly for priming cannon or a harpoon gun, with wood nozzle-stopper and plain end cap (some worm), the body decorated with a band of copper pins and a circle design together with an amateur carving of a fish and the dated initials 'E.C. 1845', the largest approx. 16 1/2in. overall.
Lot 526
A SUBSTANTIAL 6-BORE PERCUSSION FOWLING PIECE SIGNED FISHER, LONDON, no visible serial number, circa 1800, originally a flintlock and with subsequent conversions to pill and finally cap-lock, with fine strongly tapering round 41in. browned barrel with silver bead fore-sight and short sighting flat at breech signed in gilt 'FISHER, LONDON', the signature extending along and engraved needle terminating in a starburst, further gilt bands at breech together with an engraved band, fully engraved top-tang, bevel-edged lock with stepped and engraved pointed tail and signed below the original pan cut-out 'FISHER', bulbous drum and nipple, engraved slab-sided hammer with detachable 'pill-lock' nose, heavy walnut half-stock with chequered semi pistol-grip, gadrooned pommel, raised cheek-piece, iron furniture except clipped corner rectangular white metal escutcheon at wrist and for the barrel key and white metal fore-end cap, substantial brass-mounted ebony ramrod, weight approximately 16 1/2lb.Provenance: This gun was formerly the property of John Nigel George 1903-1942. It features on pages 262-3 and plate XVIII figure 1 of his book 'English Guns & Rifles'. Though listed as a 4-bore "Of this plug conversion a good example may be seen in Figure (1) of Plate XVIII in which is shown the lock of a fine 4-bore duck gun, made by Fisher, of No. 203 High Holborn, and of the period shortly after 1800, which has apparently been converted to percussion some twenty years later. Both the form and engraving of its new hammer are strongly reminiscent of those of the hammers found upon the Forsyth and Richards locks of the 1820 period and the fact of its being fitted with a detachable "striker", which can be replaced as it becomes worn, also marks it as belonging to the first few years of the percussion cap era".The aforementioned book was intended to be a companion volume to his earlier work, 'English Pistols and Revolvers." He wrote the first 11 chapters and made the headings and notes for the 12th chapter. He drew all the line drawings and illustrations and planned photographic illustrations.In March 1939, George joined the 5th Royal West Kent Regiment of the British Volunteer Territorial Army and was, therefore, ready when the Territorial Army was merged in the British Army upon war being declared upon Germany by Great Britain September 3rd, 1939.It was agreed to delay the publication of the book until hostilities were ended, and that should George no survive the war, one of his many friends Mr S.B. Haw, should write chaper 12 and draw up a bibliography and an index.George lived through Dunkirk and recovered from a severe head wound he had received during the Belgian Flanders campaign. He served for a period in England, and following strenuous training, went to Egypt with the 8th Army. On the long journey from the Cape he wrote of new friends and interests. Following an action in North Africa on September 3rdm 1942, he was killed by an enemy sniper.
Lot 725
A GOOD AND UNUSUAL .577/.450 MARTINI HENRY MARK II SERVICE RIFLE MARKED B.S.A., no visible serial number, dated 1888, with 31 1/2 in. sighted barrel with proof and inspection marks, plus '003' together with 'S . X' for Strengthened Extractor, plus two reversed Cape Government ownership marks indicating sold out of service on the receiver bridge, dropping block lever action, large cocking indicator, receiver marked and stamped with a Queen's crown over 'VR / B.S.A. & M. Co. / 1888 / lock-viewer's mark / II / 2' plus inspection marks, with opposite a hand-engraving of a horse's head, 'J. J. FOURIE' and the date '24 4 05', walnut stock, butt with Birmingham repair Broad Arrow, 'WD' roundel and sold out of service mark, complete with sling swivels, service wear, missing its cleaning rod and a loss to the fore-end wood rod channel behind the bayonet band. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).
Lot 2117
Modern firsts to include Le Carre John ' The Honorable Schoolboy' Hodder and Stoughton 1972, map end papers, blue cloth , dust wrapper, price clipped, Boyd William ' Armadillo ' Hamish Hamilton 1998, black cloth, dust wrapper , not price clipped, McEwen Ian ' Amsterdam' Jonathan Cape 1998, black cloth , dust wrapper, price clipped, Scott Paul ' Staying On' Heinemann 1977, turquoise cloth, dust wrapper , not price clipped , Updike John, ' Roger's Version' Andre Deutsch 1986, orange cloth, dust wrapper , not price clipped, Chatwin Bruce ' The Song Lines' Jonathan Cape 1987, black cloth, dust wrapper , not price clipped , various books on mountaineering and other subjects ( 2 boxes)
Lot 2120
Assorted volumes - illustrated children's books to include 'King Albert's Book', Caldecott's Picture Book, Stephen Leacock ' Nonsense Novels' ills by John Kettlewell 1921, Hans Christian Andersen ills by Rex Whistler, reprint Hans Christian Andersen ills by Kay Neilsen, various editions of the Wellingtonia Magazine 1964 -1968 ( Wellington College, Crowthorne) , Aldridge A ' The Peacock Party' Jonathan Cape 1977, signed on the title page, col plates, pictorial boards, Glossary of the Book' early 20th century novels, pictorial cloth and back strips ie Angela Brazil, Hughes, Louisa M Alcott, ( 4 boxes)
Lot 2133
Racing interest - to include Humphris E.M. ' The Life of Fred Archer' Hutchinson & Co. 1923, col. frontis, photographic plates, inked inscription ffep , only the front of the dustwrapper present. Lambton the Hon .George 'Men and Horses I have known' J A Allan and Co., Welcome John 'Fred Archer His Life and Times' , Wentworth Day J. ' The Dog on Sport' , The Racing Calendar 1886, full calf, back strip torn at the top, assorted childrens books - Carroll Lewis 'Alice's Adventures in Wonderland' 'Through the Looking Glass' MacMillan and Co, 1928 , pictorial cloth , Kipling Rudyard 'The Just So Stories for Little Children' illustrated by the Author, MacMillan and Co. 1902, black and white ills throughout, pictorial cloth, the front board is detaching, Chandler Harris Joel ' Uncle Remus...' Grant Richards 1902, col frontis, black and white plates, pictorial cloth, loss to top of backstrip, hinges cracked, various modern novels to include Tartt Donna ' The Little Friend' Bloomsbury 20002, Barnes Julian 'Elizabeth Finch' Jonathan Cape 2022, photographic boards with decorated dust wrapper, Benedictus David ' You're a Big Boy Now' Anthony Blond 1963, red cloth, dust wrapper not price clipped etc. (2 boxes)
Lot 195
Rare blue version. Glossy finish porcelain that is part of the Harradine Classics series. She wears a long white dress with a gradient blue cape. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1946-1975Dimensions: 3.25"L x 3"W x 7.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 51
Colonial School. Los Lugo Circle . New Granada. 17th century.'Saint Francis Borgia' Monumental and magnificent carved, gilded and polychromed wooden sculpture with 'estofado' decoration. 182 x 81 x 81 cm. A magnificent sculpture, highly comparable in anatomy and forms to the pair of Jesuit saints (Saint Francis Borgia and Saint Ignatius of Loyola) by Juan Martínez Montañés (1568-1649), created between 1624-1625 for the Church of the Annunciation in Seville, originally the Professed House of the Society of Jesus and currently used as a university chapel. It is evident that the model is that of the sculpture of Saint Francis Borgia, which is not surprising, as the influence of the Seville Master was decisive in the training of the sculptors of New Granada. The figures in the church in Seville wear black, Jesuit cassocks, but they are considered to require extra clothing. However, the cassock on this sculpture is richly decorated with golden scrolls, as befits the 17th century. Nevertheless, the faces and hands are very similar to the sculptures in Seville in their position, depth, anatomy, movements, and foreshortening. We base our attribution on the significant coincidence of artistic traits with the large-scale Saint Ignatius, located on the Altar of the Church of San Ignacio in Tunja, and catalogued as being made by the Los Lugo Circle. The position of the saint is identical, as is the habit. They have the same decoration and sculptural quality in faces and hands. Without a doubt, we can attribute its creation to an artist in Pedro de Lugo's workshop, who could well have been the master himself. In the aforementioned altarpiece, Saint Francis Xavier and Saint Aloysius Gonzaga flank Saint Ignatius of Loyola, who presides over them. As stated by Adrián Contreras-Guerrero, 'thanks to Father Mercado, we know that the three central images of said altarpiece [...], were commissioned in Santafé,' which reaffirms our attribution to the Los Lugo Circle. As indicated by Francisco J. Herrera and Lázaro Gila, 'referring to Pedro de Lugo Albarracín, implies delving into the little-known field of the Neogranadine sculptural workshops of the 17th century, which, judging by the remaining artworks, must have been intensely active artisically, supported by the growing demand of private individuals, clergy, religious orders, cathedrals, and parishes, both in the capital and in surrounding localities. Just as names such as Antonio Acero de la Cruz, Baltasar de Figueroa, and Gregorio Vázquez de Arce are mentioned that express the creative maturity of the Santafé workshop in painting, Pedro de Lugo Albarracín and some others with the same surname (Salvador or Lorenzo) are predominantly cited when referring to the progress that occurred in sculpture during that century in colonial Santafé and other cities such as Tunja.' Both scholars analyse Pedro de Lugo's preference for the figure of Christ at different moments of his Passion, but they also point out that he and his workshop created images of saints and some reliquaries, a fact that is closely related to our figure. They mention, for example, 'two sculptures of the Saint of Assisi, located in the church of the convent of the order in Tunja.' One of them 'has similarities to the homonymous Saint of the altarpiece of Saint Francis Borgia, in the Jesuit temple of Bogotá, also already related to Lugo.' Regarding the origin of the sculptor Pedro de Lugo, we read again in Herrera and Lázaro that, 'taking into account his Andalusian ancestry, his possible birth in Jerez, and the close relations that he and his ancestors would have had with Andalusia, the most suitable place to imagine he had his training is Seville. Well before going to Latin America for the first time, or in a youthful stay, Pedro de Lugo could have trained as a sculptor and caster in the Andalusian capital. Ig is worth noting that the city had an important establishment for the production of artillery, where he would have learnt the techniques of alloying iron, copper, and tin, and even lead and other soft metals.' Pedro and his brothers Alonso and Juan maintained an active workshop of sculpture and casting in different materials in Santafé in the central decades of the 17th century, whose influence extends beyond the capital, reaching various locations, especially Tunja. Regarding the depicted character, Javier Baladrón, Doctor in Art History, explains that 'Saint Francis Borgia (1510-1572) was a Valencian saint who became the third General of the Society of Jesus. One of the best-known episodes of his life, which would become vital in his iconography, is that of the death of Queen Isabel of Portugal, wife of Charles V, in 1539. She was considered to be one of the most beautiful women in the world. This death marked him so much that he always commented that it was the day of his conversion: 'For the empress who died on a day like today. For what the Lord did in me because of her death. For the years that mark my conversion today.' Subsequently, he organised the entourage that escorted the queen's body to the Royal Chapel of Granada. Before it was buried, he observed the disfigured face of the queen, which became one of his most recurring attributes, and he was asked if he swore that it was the queen, to which he replied, 'I have brought the body of Our Lady in strict custody from Toledo to Granada, but I dare not swear that it is herself, whose beauty I so admired.'' Baladrón continues to describe this Saint Francis Borgia: 'a still and meditative figure. He stands upright, with his right leg slightly forward, creating a contrapposto that gives the composition dynamism. This is also contributed to by the opening of the arms in different directions and the turning of the face to contemplate the cross. We do not know if originally the skull could have been in one of the two hands since it is currently held to the ground by a rod. He extends his left arm, making a declamatory gesture with his hand while pointing to the royal skull at his feet; at the same time, he flexes his right arm, bringing the crucifix that he holds in that hand closer to his face. The hands are very delicate, elegant, and realistically accentuated, so that the bones, joints, veins, lines, and even the nails are carefully defined. The head is the most impressive part of the whole, with each of the facial features and the locks that make up his sparse beard and hair perfectly and skilfully delineated. The sculptor has accurately captured the facial features of the saint, so he has managed to make a portrait, which was known through the death mask that was taken of him. He wears the typical Jesuit habit consisting of black cassock and cape, decorated with a dense network of delicate golden vegetation motifs that completely cover both garments, as if with horror vacui. Likewise, both garments are traversed by countless moving and dynamic folds, most of them soft and falling vertically, which break up the surfaces creating a succession of concave and convex surfaces. This is especially visible on the back where we find a succession of rigid tubular folds.' We would like to thank Javier Baladrón, Doctor in Art History, for the formal and iconographic description of the sculpture. Reference bibliography: - Contreras-Guerrero, Adrián. (2019) 'Escultura en Colombia. Focos productores y circulación de obras (siglos XVI-XVIII)”. Universidad de Granada. - Herrera, Francisco Javier y Gila Medina, Lázaro. (2018). “Pedro de Lugo Albarracín y el desarrollo del pleno barroco en la escultura neogranadina del siglo XVII”, capítulo IX en “El triunfo del barroco en la escultura andaluza e hispanoamericana”. (p. 305-365). Universidad de Granada. Spanish Americas.
Lot 41
Colonial School. Mexico. 18th century."Adoration of the Shepherds"Friar's Badge. Oil on copper. 11 x 9,5 cm.This is a monk's shield, which they wore tied to their habits through the small holes can be found on the four tabs on the copper plate.There are few surviving examples due to the monks' vow of poverty, and they are even rarer than nun's shields.The Los Angeles County Museum of Art (LACMA) has a "Friar's Badge with the Nativity" in its collection (M.2005.59), circa 1768, after José de Páez. In that case, it is a badge from the Catholic order Brother of the Bethlehemite, who, as stated in LACMA's descriptive card, were "devoted to educating poor children and helping the sick". Around 1660, in Guatemala, the order was established "and quicklyspread throughout Spanish America. Its founder, Pedro de San José de Betancourt (1626–1667), was profoundly devoted to the Virgin of Bethlehem and the mystery of the Nativity. José de Páez painted several badges with the Nativity, which members were prescribed to wear on their cape". Reference bibliography:- LACMA. (n.d.). “Friar’s Badge with the Nativity”. https://collections.lacma.org/node/211274
Lot 10
Olivia Sterling If it comforts you, then do so 2, 2023 Acrylic and pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About In her paintings, Olivia Sterling presents the viewer with scenes of daily life that subtly critique attitudes towards race, class, gender and social status. While her typically closely cropped and vividly coloured canvases - teeming with arms, legs and half-eaten food - may seem playful at first sight, they do in fact tackle subjects that are anything but. Education MA Painting, Royal College Arts BA Fine Art, University of Derby Select Exhibitions/Awards Graduating with an MA in painting from the Royal College of Art, Olivia has exhibited at Guts Gallery (London, 2022), Meyever Riegger (2022) NEVVEN (Gothenburg, 2022), CCA Goldsmiths (London, 2021), Cob Gallery (London, 2021), Galerie Droste (Paris, 2021), Blank Projects (Cape Town, 2020), White Cube (Online, 2020) Sterling lives and works in London, United Kingdom. Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork The series "If it comforts you, then do so" takes its name from the book "The Master and Margarita" spoken by the master. The series shows red wine staining unknown party guests as they slosh about. I wanted to emulate being at a party and the stages or motions of drinking that are often involved. From melancholic to chaotic, as the wine pours, different things are lost and gained. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 11
Olivia Sterling If it comforts you, then do so 3, 2023 Acrylic and pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About In her paintings, Olivia Sterling presents the viewer with scenes of daily life that subtly critique attitudes towards race, class, gender and social status. While her typically closely cropped and vividly coloured canvases - teeming with arms, legs and half-eaten food - may seem playful at first sight, they do in fact tackle subjects that are anything but. Education MA Painting, Royal College Arts BA Fine Art, University of Derby Select Exhibitions/Awards Graduating with an MA in painting from the Royal College of Art, Olivia has exhibited at Guts Gallery (London, 2022), Meyever Riegger (2022) NEVVEN (Gothenburg, 2022), CCA Goldsmiths (London, 2021), Cob Gallery (London, 2021), Galerie Droste (Paris, 2021), Blank Projects (Cape Town, 2020), White Cube (Online, 2020) Sterling lives and works in London, United Kingdom. Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork The series "If it comforts you, then do so" takes its name from the book "The Master and Margarita" spoken by the master. The series shows red wine staining unknown party guests as they slosh about. I wanted to emulate being at a party and the stages or motions of drinking that are often involved. From melancholic to chaotic, as the wine pours, different things are lost and gained. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 12
Olivia Sterling If it comforts you, then do so 4 Acrylic and pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About In her paintings, Olivia Sterling presents the viewer with scenes of daily life that subtly critique attitudes towards race, class, gender and social status. While her typically closely cropped and vividly coloured canvases - teeming with arms, legs and half-eaten food - may seem playful at first sight, they do in fact tackle subjects that are anything but. Education MA Painting, Royal College Arts BA Fine Art, University of Derby Select Exhibitions/Awards Graduating with an MA in painting from the Royal College of Art, Olivia has exhibited at Guts Gallery (London, 2022), Meyever Riegger (2022) NEVVEN (Gothenburg, 2022), CCA Goldsmiths (London, 2021), Cob Gallery (London, 2021), Galerie Droste (Paris, 2021), Blank Projects (Cape Town, 2020), White Cube (Online, 2020) Sterling lives and works in London, United Kingdom. Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork The series "If it comforts you, then do so" takes its name from the book "The Master and Margarita" spoken by the master. The series shows red wine staining unknown party guests as they slosh about. I wanted to emulate being at a party and the stages or motions of drinking that are often involved. From melancholic to chaotic, as the wine pours, different things are lost and gained. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 213
Angie Hunt Home From Home, 2023 Oil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Angie paints what's on her mind. Her themes relate to feelings of escapism and containment, seeking an equilibrium between wilderness and domesticity. Angie is based in her Cotswold painting studio in England's rural countryside, although her heart belongs by the sea and she is frequently found on sailing and walking adventures around the British coastline. Education BA (hons) fine art Porthmeor Programme, St Ives School of Painting Occasional top-up workshops at Newlyn Art School, the RA, St Ives Painting School Select Exhibitions/Awards Royal Academy of Arts Summer Exhibition 2023 ING Discerning Eye 2023 Finalist at Broadway Arts Festival 2023 Wells Art Contemporary 2023 Oxford Art Society member, regular exhibitor & winner of guest selector prize 2022 Chelsea Arts Club member & regular exhibitor Artist residency at Brisons Veor, Cape Cornwall 2023, 2020, 2019 SWA, Mall Galleries 2014 Statement about AOAP Submitted Artwork My current paintings are inner landscapes featuring simplified, imaginary scenes - small, isolated houses in wide, coastal settings; sheltered harbours; domestic interiors with gatherings of kitchen vessels. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 214
Angie Hunt Home is Where the Heart is, 2023 Oil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Angie paints what's on her mind. Her themes relate to feelings of escapism and containment, seeking an equilibrium between wilderness and domesticity. Angie is based in her Cotswold painting studio in England's rural countryside, although her heart belongs by the sea and she is frequently found on sailing and walking adventures around the British coastline. Education BA (hons) fine art Porthmeor Programme, St Ives School of Painting Occasional top-up workshops at Newlyn Art School, the RA, St Ives Painting School Select Exhibitions/Awards Royal Academy of Arts Summer Exhibition 2023 ING Discerning Eye 2023 Finalist at Broadway Arts Festival 2023 Wells Art Contemporary 2023 Oxford Art Society member, regular exhibitor & winner of guest selector prize 2022 Chelsea Arts Club member & regular exhibitor Artist residency at Brisons Veor, Cape Cornwall 2023, 2020, 2019 SWA, Mall Galleries 2014 Statement about AOAP Submitted Artwork My current paintings are inner landscapes featuring simplified, imaginary scenes - small, isolated houses in wide, coastal settings; sheltered harbours; domestic interiors with gatherings of kitchen vessels. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 382
Carla Busuttil Caw Caw Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Carla Busuttil was born in Johannesburg in 1982. She gained a Postgraduate Fine Art degree from the Royal Academy of Arts after completing her BA (Hons.) from the University of Witwatersrand. She works across painting, drawing and video, exploring the manipulation of digital and analogue material through installation, movement and performance. She uses multilayered references to create fictional imaginings that draw on real life events / people in order to engage with culture from a contemporary and critical perspective. Carla lives and works in Birmingham UK. Education 2005 - 08 Postgraduate Dipl. Royal Academy Schools, London 2001 - 04 BA (Hons.) Fine Art, University of Witwatersrand, Johannesburg Select Exhibitions/Awards SOLO SHOWS Always the Land, Recent Activity, Birmingham, UK, 2021 Sunset Debris, Montresso Art Foundation, Marrakech, 2020 Gentlemen, I Just Don't Belong Here, Goodman Gallery, Cape Town, 2019 The Super-Suburb Defence Authority, Josh Lilley, London, 2016 Choice. Click. Bait. , Goodman Gallery, Johannesburg, 2016 GROUP SHOWS Nothing but Thresholds, Ingot Studios, Birmingham, 2023 Night School, Birmingham School of Art, Birmingham, 2023 Good Neighbours, Nirox Sculpture Park, Johannesburg, 2022 Empire through the Lens, Midlands Art Centre, Birmingham, 2022 Bohlale Ba Maka, Performance and Open Studio Exhibition, Nirox Sculpture Park, Johannesburg, 2022 IDENT, with Schemata and Corsica Studios, New Art City, 2021 Ikon for Artists, Ikon gallery, Birmingham, 2021 Distorted Figure, Space K, Seoul, 2020 Gallery Representation Josh Lilley You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 441
Farnaz Gholami Left Side of the Pool Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Farnaz Gholami is an Iranian, London-based artist whose practice encompasses painting, drawing, printmaking, and installation. She graduated from the Slade School of Fine Art studying MA in Fine Art Painting in 2019. She has been the recipient of The UCL Olive Prize, a finalist for the UKNA Robert Walters Awards, shortlisted for Bloomberg New Contemporaries, and a finalist in Tiffany and Co. x Outset's Studio Makers Prize. Education 2019 The Slade School of Fine Art (UCL), MA in Fine Art Painting (Distinction), London, UK 2017 Chelsea College of Arts (UAL), Graduate Diploma in Fine Art, London, UK 2013 Brandeis University Post-Baccalaureate in Fine Art, Studio Art, Massachusetts, USA Select Exhibitions/Awards 2023 Summer Show, Royal Academy of Arts, London, UK In Bloom, Victoria Law Projects, London, UK 2022 UKNA/Robert Walters Awards, Saatchi Gallery, London, UK Duo Show: Wilderness Known, Liliya Art Gallery, London, UK Through a Glass, Darkly, Niru Ratnam Gallery, London, UK Solo Show: Pearl Palace and Other Buildings of a Misremembered Past, Bomb Factory Gallery, London Art on a Postcard, Bomb Factory Gallery, London, UK Little Explosions, Bomb Factory Gallery, London, UK Weary Harold, Asc Gallery, London, UK 2021 Wild Grapes, Unit 3 Project Space, London, UK Duo Show: Harbinger of a Sweet Song, Yammamoto Keiko Rochaix Gallery, London, UK cho, Eco, Co, O, Heck! , Proposition Gallery, London, UK 2020 Squeezed, Karen Tronel Gallery, London, UK Group Show, Karen Tronel Gallery, London, UK 2019 Gestura, The Koppel Project, London, UK EXH 01, Floor EXH, Online Platform Graduate Art Prize 2019 Shortlist Exhibition, ARTIQ and Herbert Smith Freehills, London, UK Limbo, The London Summer Intensive: The Slade School of Fine Art, UCL, London, UK The Slade School of Fine Art Degree Show, UCL, London, UK Distant Heres, The Stone Space Gallery, London, UK But We Don't Leave Pyramids, Charsoo Gallery, Tehran, Iran 2018 Home, Jorjani Gallery, Tehran, Iran The Field, The ASC Gallery, London, UK 2017 Imagen Vibratoria, bajo el paraguas de su reproducción, El Museo Nahim Isaías del Ministerio de Cultura y Patrimonio, Ecuador Let's Yarding, GAPS Curatorial, London, UK Big Fridge, The Safehouse Gallery, London, UK Hot Dairy, The Cookhouse Gallery, London, UK 2016 Turbine Art Fair, Warren Editions, Johannesburg, South Africa Printmaking exhibition, Côte d'Ivore Embassy, Tehran, Iran 2015 Group Exhibition, Warren Editions Gallery, Cape Town, South Africa 2013 Post-Bac Degree Show, Dreitzer Gallery, Brandeis University, Massachusetts, USA ACHIEVEMENTS 2022 UKNA Robert Walters, Saatchi, Finalist 2019 The Olive Prize, UCL, Recipient Bloomberg New Contemporaries, Shortlisted Tiffany & co. x Outset studiomakers award, Runner up The Slade Summer School Residency, Recipient Artiq The Graduate Art Prize, Shortlisted 2014-5 Printmaking Residency, Warren Editions, Cape Town, South Africa Statement about AOAP Submitted Artworks My art practice encompasses painting, drawing, printmaking, and installation. I create expansive picture plains, usually depicting ambiguous unpopulated urban landscapes or interior spaces, to consider the sense of in-betweenness. Based on my diasporic experience of living in different cultures and countries, I explore the ideas of dislocation and internal fragmented identity through interaction with my surrounding spaces, buildings, cities, and natures, intertwined with memory and imagination. In my paintings, I use familiar subjects from different cultures such as architecture, gardens, swimming pools, street lamps, or hammocks as devices to break the stereotype of otherness, and suggest familiarity in new undefinable inclusive spaces. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 442
Farnaz Gholami Right Side of the Pool Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Farnaz Gholami is an Iranian, London-based artist whose practice encompasses painting, drawing, printmaking, and installation. She graduated from the Slade School of Fine Art studying MA in Fine Art Painting in 2019. She has been the recipient of The UCL Olive Prize, a finalist for the UKNA Robert Walters Awards, shortlisted for Bloomberg New Contemporaries, and a finalist in Tiffany and Co. x Outset's Studio Makers Prize. Education 2019 The Slade School of Fine Art (UCL), MA in Fine Art Painting (Distinction), London, UK 2017 Chelsea College of Arts (UAL), Graduate Diploma in Fine Art, London, UK 2013 Brandeis University Post-Baccalaureate in Fine Art, Studio Art, Massachusetts, USA Select Exhibitions/Awards 2023 Summer Show, Royal Academy of Arts, London, UK In Bloom, Victoria Law Projects, London, UK 2022 UKNA/Robert Walters Awards, Saatchi Gallery, London, UK Duo Show: Wilderness Known, Liliya Art Gallery, London, UK Through a Glass, Darkly, Niru Ratnam Gallery, London, UK Solo Show: Pearl Palace and Other Buildings of a Misremembered Past, Bomb Factory Gallery, London Art on a Postcard, Bomb Factory Gallery, London, UK Little Explosions, Bomb Factory Gallery, London, UK Weary Harold, Asc Gallery, London, UK 2021 Wild Grapes, Unit 3 Project Space, London, UK Duo Show: Harbinger of a Sweet Song, Yammamoto Keiko Rochaix Gallery, London, UK cho, Eco, Co, O, Heck! , Proposition Gallery, London, UK 2020 Squeezed, Karen Tronel Gallery, London, UK Group Show, Karen Tronel Gallery, London, UK 2019 Gestura, The Koppel Project, London, UK EXH 01, Floor EXH, Online Platform Graduate Art Prize 2019 Shortlist Exhibition, ARTIQ and Herbert Smith Freehills, London, UK Limbo, The London Summer Intensive: The Slade School of Fine Art, UCL, London, UK The Slade School of Fine Art Degree Show, UCL, London, UK Distant Heres, The Stone Space Gallery, London, UK But We Don't Leave Pyramids, Charsoo Gallery, Tehran, Iran 2018 Home, Jorjani Gallery, Tehran, Iran The Field, The ASC Gallery, London, UK 2017 Imagen Vibratoria, bajo el paraguas de su reproducción, El Museo Nahim Isaías del Ministerio de Cultura y Patrimonio, Ecuador Let's Yarding, GAPS Curatorial, London, UK Big Fridge, The Safehouse Gallery, London, UK Hot Dairy, The Cookhouse Gallery, London, UK 2016 Turbine Art Fair, Warren Editions, Johannesburg, South Africa Printmaking exhibition, Côte d'Ivore Embassy, Tehran, Iran 2015 Group Exhibition, Warren Editions Gallery, Cape Town, South Africa 2013 Post-Bac Degree Show, Dreitzer Gallery, Brandeis University, Massachusetts, USA ACHIEVEMENTS 2022 UKNA Robert Walters, Saatchi, Finalist 2019 The Olive Prize, UCL, Recipient Bloomberg New Contemporaries, Shortlisted Tiffany & co. x Outset studiomakers award, Runner up The Slade Summer School Residency, Recipient Artiq The Graduate Art Prize, Shortlisted 2014-5 Printmaking Residency, Warren Editions, Cape Town, South Africa Statement about AOAP Submitted Artworks My art practice encompasses painting, drawing, printmaking, and installation. I create expansive picture plains, usually depicting ambiguous unpopulated urban landscapes or interior spaces, to consider the sense of in-betweenness. Based on my diasporic experience of living in different cultures and countries, I explore the ideas of dislocation and internal fragmented identity through interaction with my surrounding spaces, buildings, cities, and natures, intertwined with memory and imagination. In my paintings, I use familiar subjects from different cultures such as architecture, gardens, swimming pools, street lamps, or hammocks as devices to break the stereotype of otherness, and suggest familiarity in new undefinable inclusive spaces. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 557
Faith XLVII Untitled (1) Red Wax Crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Liberty's journey as an artist began on the streets of South Africa in 1997, as a young graffiti writer known as Faith47. She rose to prominence on the international street art scene before becoming widely recognised for her multidisciplinary artistic practice. Monumental and intimate, private and public, her artwork takes the form of murals, sculptures, video installations, tapestries and drawings. Deconstructing notions of value and place, investigating forms of domination, she explores the shapes of human perception. In quest of the divine, she expresses a longing for a deeper connection to the wisdoms of the natural world. There is too the active investigation and questioning of the human condition, its deviant histories and our own inherent existential search. She has shown at the Musée des Beaux-arts in Nancy, France, the Calais Museum of Fine Art, the Bernard Magrez Foundation in France, Mana Contemporary and the Brooklyn Museum, both in the USA. Select Exhibitions/Awards SELECT EXHBITIONS 2023 CO\LAB 5, Torrence Museum, California, USA CLAIR - OSCUR, Solo Exhibition, Musée des Beaux-arts, Nancy, France CLAIR - OSCUR, Solo Exhibition, Daynsz Gallery, Paris, France Cape Town Art Fair, Cape Town, South Africa Art Residency, Common Ground and KRNT Studios, Kauai, Hawaii 2021 CHANT, Solo Exhibition, Everard Read Gallery, Cape Town, South Africa The Land War Installation, MUCA Museum, Munich, Germany Foundation, Group Show, Heron Gallery, San Fransisco, USA Tiblisi Mural Festival, Tiblisi, Georgia Mural Commission, Johannesburg, South Africa 2020 Staring Straight to the Future, Everard Read Gallery, Cape Town, South Africa One World, Fabien Castanier Gallery, Miami, USA Unprecedented Times, Kunsthaus Bregenz, Vienna, Austria PINK, Everard Read Gallery, Johannesburg, South Africa Cape Town Art Fair, Cape Town, South Africa 2019 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles, USA Together Group Exhibition, KP Projects Gallery, Los Angeles, USA Conquête Urbaine, Calais Museum of Fine Art, Paris, France Veni, Vidi, Vinci, Fluctuart, Paris, France Tàpia, B-Murals, Barcelona, Spain 2018 Elixir, Solo Exhibition - Fabien Castanier Gallery - Miami, USA Short Film Festival CortoLovere - Italy Mana Contemporary Group Exhibition - New York Grand Opening Mirus Gallery - Denver, USA Beyond The Streets - Los Angeles, USA 2017 Dislocation, Group Show - Everard Read Gallery - Cape Town, South Africa Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg Urban Currents, group show, Gallerie Kirk - Denmark Digard Auction, Tribute to Paris - Paris, France Magic Cities exhibition, Munich, Germany 2016 XX: A moment in time - Saatchi Gallery, - London Freedom as Form Group Exhibition - Wunderkameren Gallery - Milan, Italy PM10 - Urban Nation Museum Group Exhibition - Berlin, Germany Agitprop, Brooklyn Museum - New York, USA Cities of Hope Mural Project - Manchester, UK 2015 AQUA REGALIA Solo Exhibition - Jonathan Levine Gallery, New York,USA Landfill Meditation Street Intervention - Johannesburg, South Africa Art Liberté Group Exhibition, Du Mur de Berlin - Gare de l'Est, Paris, France The Psychic Power of Animals Street Intervention - New York, USA Dragon Tiger Mountain Mural Project - Nanachang, China 2014 Aqua Regalia Solo Exhibition - London, UK Berlin Wall 25th Anniversary Group Show - Paris, France Library Street Collective Group Show - Basel, Miami, USA Redux Group Show - Inoperable Gallery, Vienna, Austria A Study of Warrick Triangle at Rush Hour - Large Scale Freeway Overpass Commission, City of Durban, South Africa 2013 Women on the Walls Group Exhibition, Jeffrey Deitch and Wynwood Walls - Miami, USA Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery - New York, USA XII. Into the Dark Group Exhibition - Unit44, The Victoria Tunnel, Newcastle, UK Brotkunsthalle Group Show - Vienna, Austria Beyond Eden Group Exhibition - Thinkspace Gallery, Los Angeles, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 558
Faith XLVII Untitled (2) Red Wax Crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Liberty's journey as an artist began on the streets of South Africa in 1997, as a young graffiti writer known as Faith47. She rose to prominence on the international street art scene before becoming widely recognised for her multidisciplinary artistic practice. Monumental and intimate, private and public, her artwork takes the form of murals, sculptures, video installations, tapestries and drawings. Deconstructing notions of value and place, investigating forms of domination, she explores the shapes of human perception. In quest of the divine, she expresses a longing for a deeper connection to the wisdoms of the natural world. There is too the active investigation and questioning of the human condition, its deviant histories and our own inherent existential search. She has shown at the Musée des Beaux-arts in Nancy, France, the Calais Museum of Fine Art, the Bernard Magrez Foundation in France, Mana Contemporary and the Brooklyn Museum, both in the USA. Select Exhibitions/Awards SELECT EXHBITIONS 2023 CO\LAB 5, Torrence Museum, California, USA CLAIR - OSCUR, Solo Exhibition, Musée des Beaux-arts, Nancy, France CLAIR - OSCUR, Solo Exhibition, Daynsz Gallery, Paris, France Cape Town Art Fair, Cape Town, South Africa Art Residency, Common Ground and KRNT Studios, Kauai, Hawaii 2021 CHANT, Solo Exhibition, Everard Read Gallery, Cape Town, South Africa The Land War Installation, MUCA Museum, Munich, Germany Foundation, Group Show, Heron Gallery, San Fransisco, USA Tiblisi Mural Festival, Tiblisi, Georgia Mural Commission, Johannesburg, South Africa 2020 Staring Straight to the Future, Everard Read Gallery, Cape Town, South Africa One World, Fabien Castanier Gallery, Miami, USA Unprecedented Times, Kunsthaus Bregenz, Vienna, Austria PINK, Everard Read Gallery, Johannesburg, South Africa Cape Town Art Fair, Cape Town, South Africa 2019 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles, USA Together Group Exhibition, KP Projects Gallery, Los Angeles, USA Conquête Urbaine, Calais Museum of Fine Art, Paris, France Veni, Vidi, Vinci, Fluctuart, Paris, France Tàpia, B-Murals, Barcelona, Spain 2018 Elixir, Solo Exhibition - Fabien Castanier Gallery - Miami, USA Short Film Festival CortoLovere - Italy Mana Contemporary Group Exhibition - New York Grand Opening Mirus Gallery - Denver, USA Beyond The Streets - Los Angeles, USA 2017 Dislocation, Group Show - Everard Read Gallery - Cape Town, South Africa Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg Urban Currents, group show, Gallerie Kirk - Denmark Digard Auction, Tribute to Paris - Paris, France Magic Cities exhibition, Munich, Germany 2016 XX: A moment in time - Saatchi Gallery, - London Freedom as Form Group Exhibition - Wunderkameren Gallery - Milan, Italy PM10 - Urban Nation Museum Group Exhibition - Berlin, Germany Agitprop, Brooklyn Museum - New York, USA Cities of Hope Mural Project - Manchester, UK 2015 AQUA REGALIA Solo Exhibition - Jonathan Levine Gallery, New York,USA Landfill Meditation Street Intervention - Johannesburg, South Africa Art Liberté Group Exhibition, Du Mur de Berlin - Gare de l'Est, Paris, France The Psychic Power of Animals Street Intervention - New York, USA Dragon Tiger Mountain Mural Project - Nanachang, China 2014 Aqua Regalia Solo Exhibition - London, UK Berlin Wall 25th Anniversary Group Show - Paris, France Library Street Collective Group Show - Basel, Miami, USA Redux Group Show - Inoperable Gallery, Vienna, Austria A Study of Warrick Triangle at Rush Hour - Large Scale Freeway Overpass Commission, City of Durban, South Africa 2013 Women on the Walls Group Exhibition, Jeffrey Deitch and Wynwood Walls - Miami, USA Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery - New York, USA XII. Into the Dark Group Exhibition - Unit44, The Victoria Tunnel, Newcastle, UK Brotkunsthalle Group Show - Vienna, Austria Beyond Eden Group Exhibition - Thinkspace Gallery, Los Angeles, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 559
Faith XLVII Untitled (3) Red Wax Crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Frankie Shea About Liberty's journey as an artist began on the streets of South Africa in 1997, as a young graffiti writer known as Faith47. She rose to prominence on the international street art scene before becoming widely recognised for her multidisciplinary artistic practice. Monumental and intimate, private and public, her artwork takes the form of murals, sculptures, video installations, tapestries and drawings. Deconstructing notions of value and place, investigating forms of domination, she explores the shapes of human perception. In quest of the divine, she expresses a longing for a deeper connection to the wisdoms of the natural world. There is too the active investigation and questioning of the human condition, its deviant histories and our own inherent existential search. She has shown at the Musée des Beaux-arts in Nancy, France, the Calais Museum of Fine Art, the Bernard Magrez Foundation in France, Mana Contemporary and the Brooklyn Museum, both in the USA. Select Exhibitions/Awards SELECT EXHBITIONS 2023 CO\LAB 5, Torrence Museum, California, USA CLAIR - OSCUR, Solo Exhibition, Musée des Beaux-arts, Nancy, France CLAIR - OSCUR, Solo Exhibition, Daynsz Gallery, Paris, France Cape Town Art Fair, Cape Town, South Africa Art Residency, Common Ground and KRNT Studios, Kauai, Hawaii 2021 CHANT, Solo Exhibition, Everard Read Gallery, Cape Town, South Africa The Land War Installation, MUCA Museum, Munich, Germany Foundation, Group Show, Heron Gallery, San Fransisco, USA Tiblisi Mural Festival, Tiblisi, Georgia Mural Commission, Johannesburg, South Africa 2020 Staring Straight to the Future, Everard Read Gallery, Cape Town, South Africa One World, Fabien Castanier Gallery, Miami, USA Unprecedented Times, Kunsthaus Bregenz, Vienna, Austria PINK, Everard Read Gallery, Johannesburg, South Africa Cape Town Art Fair, Cape Town, South Africa 2019 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles, USA Together Group Exhibition, KP Projects Gallery, Los Angeles, USA Conquête Urbaine, Calais Museum of Fine Art, Paris, France Veni, Vidi, Vinci, Fluctuart, Paris, France Tàpia, B-Murals, Barcelona, Spain 2018 Elixir, Solo Exhibition - Fabien Castanier Gallery - Miami, USA Short Film Festival CortoLovere - Italy Mana Contemporary Group Exhibition - New York Grand Opening Mirus Gallery - Denver, USA Beyond The Streets - Los Angeles, USA 2017 Dislocation, Group Show - Everard Read Gallery - Cape Town, South Africa Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg Urban Currents, group show, Gallerie Kirk - Denmark Digard Auction, Tribute to Paris - Paris, France Magic Cities exhibition, Munich, Germany 2016 XX: A moment in time - Saatchi Gallery, - London Freedom as Form Group Exhibition - Wunderkameren Gallery - Milan, Italy PM10 - Urban Nation Museum Group Exhibition - Berlin, Germany Agitprop, Brooklyn Museum - New York, USA Cities of Hope Mural Project - Manchester, UK 2015 AQUA REGALIA Solo Exhibition - Jonathan Levine Gallery, New York,USA Landfill Meditation Street Intervention - Johannesburg, South Africa Art Liberté Group Exhibition, Du Mur de Berlin - Gare de l'Est, Paris, France The Psychic Power of Animals Street Intervention - New York, USA Dragon Tiger Mountain Mural Project - Nanachang, China 2014 Aqua Regalia Solo Exhibition - London, UK Berlin Wall 25th Anniversary Group Show - Paris, France Library Street Collective Group Show - Basel, Miami, USA Redux Group Show - Inoperable Gallery, Vienna, Austria A Study of Warrick Triangle at Rush Hour - Large Scale Freeway Overpass Commission, City of Durban, South Africa 2013 Women on the Walls Group Exhibition, Jeffrey Deitch and Wynwood Walls - Miami, USA Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery - New York, USA XII. Into the Dark Group Exhibition - Unit44, The Victoria Tunnel, Newcastle, UK Brotkunsthalle Group Show - Vienna, Austria Beyond Eden Group Exhibition - Thinkspace Gallery, Los Angeles, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 86
Abdulrazaq Awofeso Untitled (2), 2023 Pigment ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Abdulrazaq Awofeso (b. 1978, Lagos, Nigeria) is a sculptor and installation artist. He lives and works between Birmingham, UK, and Lagos, Nigeria. Recent exhibitions include Dakar Biennale (2016), STEVENSON, Cape Town (2016), Centro Cultural Banco do Brasil (2017-18), MAXXI, the National Museum of 21st Century Arts Rome (2018), Museum Arnhem (2020), Ikon Gallery (2022) and Ed Cross (2023). Forthcoming exhibitions include Museum Arnhem (2023). Abdulrazaq's work features in prestigious private and institutional collections including Benetton Imago Mundi, Laurent Perrier, Deborah Goldman and Yemi Odusanya. Select Exhibitions/Awards SOLO SHOWS 2023 Abdulrazaq Awofeso: Broad Streets, Ed Cross at 19 Garret Street, London, U.K FAIR BOOTHS 2023 Abdulrazaq Awofeso: 1-54 Marrakech 2023, Ed Cross at La Mamounia, Marrakech, Morocco Gallery Representation Ed Cross You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 87
Abdulrazaq Awofeso Untitled (3), 2023 Pigment ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Abdulrazaq Awofeso (b. 1978, Lagos, Nigeria) is a sculptor and installation artist. He lives and works between Birmingham, UK, and Lagos, Nigeria. Recent exhibitions include Dakar Biennale (2016), STEVENSON, Cape Town (2016), Centro Cultural Banco do Brasil (2017-18), MAXXI, the National Museum of 21st Century Arts Rome (2018), Museum Arnhem (2020), Ikon Gallery (2022) and Ed Cross (2023). Forthcoming exhibitions include Museum Arnhem (2023). Abdulrazaq's work features in prestigious private and institutional collections including Benetton Imago Mundi, Laurent Perrier, Deborah Goldman and Yemi Odusanya. Select Exhibitions/Awards SOLO SHOWS 2023 Abdulrazaq Awofeso: Broad Streets, Ed Cross at 19 Garret Street, London, U.K FAIR BOOTHS 2023 Abdulrazaq Awofeso: 1-54 Marrakech 2023, Ed Cross at La Mamounia, Marrakech, Morocco Gallery Representation Ed Cross You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lot 88
Abdulrazaq Awofeso Untitled (4), 2023 Pigment ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Abdulrazaq Awofeso (b. 1978, Lagos, Nigeria) is a sculptor and installation artist. He lives and works between Birmingham, UK, and Lagos, Nigeria. Recent exhibitions include Dakar Biennale (2016), STEVENSON, Cape Town (2016), Centro Cultural Banco do Brasil (2017-18), MAXXI, the National Museum of 21st Century Arts Rome (2018), Museum Arnhem (2020), Ikon Gallery (2022) and Ed Cross (2023). Forthcoming exhibitions include Museum Arnhem (2023). Abdulrazaq's work features in prestigious private and institutional collections including Benetton Imago Mundi, Laurent Perrier, Deborah Goldman and Yemi Odusanya. Select Exhibitions/Awards SOLO SHOWS 2023 Abdulrazaq Awofeso: Broad Streets, Ed Cross at 19 Garret Street, London, U.K FAIR BOOTHS 2023 Abdulrazaq Awofeso: 1-54 Marrakech 2023, Ed Cross at La Mamounia, Marrakech, Morocco Gallery Representation Ed Cross You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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