XU YANZHOU (CHINESE B. 1961)Portrait of a Man, oil on panel47 x 48.5 cm (18 1/2 x 19 1/8 in.)signed lower right; inscribed on versoPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New York LOT NOTESBorn in Qingdao, Xu Yanzhou is a visual artist and master of contemporary realism who became well known as a professional artist at his early twenties, establishing himself within the Chinese National Society of Artists and the National Society of Artists in Beijing. Xu Yanzhou is considered a major figure in the school of rural realistic painting in China, although, the topics of his paintings are very diverse, ranging from rural scenes and captivating female portraits to imaginative paintings which are close to science fiction. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.
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LI GUIJUN (CHINESE B. 1964)Standing Nude, 1988oil on canvas101.5 x 62 cm (40 x 24 3/8 in.)signed and dated lower right; titled and signed Li Guijun on versoPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New YorkEXPERTISEWe are grateful to the artist, Li Guijun, for confirming the authenticity of this work. LOT NOTESBeijing artist Li Guijun is known for his exploration of the dynamics of women in a photo realistic fashion. He painted adolescent girls exclusively for almost twenty years, and the one presented at the auction is among the artist`s early works that he created at the time of graduation from the Central Academy of Fine Arts in Beijing in 1988. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.
Byzantine Empire, ca. 9th to 13th century CE. A gorgeous, huge bronze reliquary in the form of two crosses fitted together, hinged at the bottom. At the top is a hinge attached to a thick, horizontal loop for suspension. Comes with custom stand. Size: 2" W x 3.5" H (5.1 cm x 8.9 cm); height on stand: 4.95" (12.6 cm).On one side is an incised design of four faces - perhaps representing the four Evangelists? - with a drilled, shallow circle in the center. On the other is an abstract design of drilled holes and incised lines forming a cross within the main body of the cross and some unreadable letters. Relics - physical remains of saints or objects associated with Christ, such as pieces of the True Cross, the shroud His body was wrapped in, or, mythically, the Holy Grail - held tremendous power in medieval Christianity. Reliquaries, objects designed to hold relics, were usually kept in cathedrals or churches, but some wealthy individuals were able to possess them. The less wealthy could purchase replicas of reliquaries, small reliquaries containing less precious items like soil from a holy site, or metal items produced as a form of souvenir from shrines. Later, many of these objects were destroyed in times of religious conflict or strife; ones that are intact have often been passed down through generations of families. The Metropolitan Museum of Art has several of these items in its collection, including on display – see the small hinged cross reliquary depicting Christ and the Virgin (1999.519.9). Provenance: Ex-private east coast, USA collection Condition: Excellent, with light patina. Both hinges have their original iron pins; the bottom one is non-functional due to patina. The loop for suspension has a tiny loss to one side and appears, based on patina, to have been made in a different workshop and may be an ancient repair, but is certainly roughly contemporary with this cross. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120859
LOT OF CONTEMPORARY CONTINENTAL GLASSWARE including a Phoenician iridescent art glass vase, signed to base Malta 1989, 8.5cm high; together with a Hadeland Glasswerk Norway 'Futur' dish, 22.5cm diameter, Holmegaard Danish glass heart form vase, etched shield and initials 'F.D.F', 10.5cm high, and a C.V. Ramsay scent bottle lack stopper, 13.5cm high (4)
Colloca Ferdinando. Folle in Love! 1991. Dipinto a tecnica mista su carta, mm 620x460. Firmato e datato 'Colloca, '91', in basso a destra. Al verso sulla copertura: 'Folle in Love! Smalto e tecnica mista su carta, 46x62 cm, da me dipinto, 15/03/2991, Colloca Ferdinando', in alto; 'Folle e Folli. Galleria Orsa Maggiore, Roma', in basso. In cornice.Ferdinando Colloca, in arte Fery Colloca, è a tutt'oggi curatore del festival di Arte Contemporanea Adrenalina di Roma. Il suo lavoro è stato premiato con la Targa d'argento Mondadori nel 1992. Provenienza: Galleria Orsa Maggiore, Roma.Mixed media painting on paper, 620x460 mm. Signed and dated 'Colloca, '91', bottom right. On the coverage verso 'Folle in Love! Smalto e tecnica mista su carta, 46x62 cm, da me dipinto, 15/03/2991, Colloca Ferdinando' at the top; 'Folle e Folli. Galleria Orsa Maggiore, Roma' at the bottom. Framed. Ferdinando Colloca, aka Fery Colloca, is nowadays curator of the Adrenalina Contemporary Art Festival in Rome; his work was awarded with the silver plate Mondadori in 1992.
George Loraine Stampa (1875-1951), "They're comin' nah 'Orace - Let 'im 'ear yer", signed and dated '37, titled in margin, an original illustration, watercolour, image size 30.5 x 23.5cm.; 12 x 9.25in. * G.L. Stampa was born in Constantinople on 29 November 1875. His father, of Franco-Italian descent, was architect to the Sultan Abdul Hamid, and he was forced into leaving Turkey with his family by the political uprising of 1878. As a result, Stampa grew up at his mother's former family home at Battlebarrow House, Appleby, in Westmoreland. He was educated at the local grammar school and, from the age of 11, at Bedford Modern School. He studied art at Heatherley's (1892-93) and, as a contemporary of Heath Robinson and Lewis Baumer, at the Royal Academy Schools (1893-95). He then shared a studio with Savile Lumley. Contributing to Punch from 1894, he worked in the tradition of Keene and May, and made his name with cartoons and illustrations of urchins. Equally important, if less well chronicled, was his role as illustrator to the Punch theatre column, 'At the Play', which he passed to Ronald Searle only in 1949. A versatile artist, who used a wide variety of media, he exhibited at the Royal Institute of Painters in Water Colours and the Royal Academy, and was a member of both the Savage Club and the Langham Sketching Club (being Chairman of the latter in 1914). He died on 26 May 1951.
Cameron (Katharine, 1874-1965). An original watercolour bound into Lachrymæ Musarum and Other Poems, by William Watson, 1st edition, Macmillan, 1892, pen, ink, and watercolour drawing of a young couple in a landscape with a cupid, calligraphic title at head and foot 'So light we parted at eve we knew not that love was born', signed and dated 1897 lower right, image size 15 x 6cm (6 x 2.5ins), bound between F5 and F6, latter with an additional pen, ink, and watercolour head-piece of rose stems and flowers by Katharine Cameron, initialled lower right, half-title signed by the author, bookticket of Roderick Gradidge, Architect, top edges gilt, remainder untrimmed, near contemporary red morocco by Maclehose, Glasgow, signed in front turn-in, gilt lettered spine a trifle darkened and rubbed on joints, gilt fillets on edges and turn-ins, 8vo Scottish artist and book illustrator Katharine Cameron exhibited at the Royal Scottish Academy from 1894 to 1965. Prominent British architect Roderick Gradidge (1929-2000) was an apologist for traditional architecture, an author and architectural historian, and a Master of the Art Workers' Guild. (1)
Wildlife Artists.- Waters (David) Archibald Thorburn Artist and Illustrator…1889-1934, ONE OF 205 COPIES SIGNED BY THE AUTHOR half rexine over patterned boards, 2009; McIntosh (Michael) Robert Abbett, ONE OF 500 COPIES, contemporary calf over patterned boards, Camden SC, 1989, slip-cases; Frace (Charles) Nature's Window ONE OF 3600 COPIES SIGNED BY THE AUTHOR, rexine, 1992; .- The Animal Art of William Kuhnert , ONE OF 2300 COPIES, rexine, 1995; Wieland (Terry) Guy Coheleach, publisher's cloth, dust-jacket, Camden SC, n.d. [c.1990]; and 18 others similar, wildlife illustrators, v.s. (23).
[Glasse, Hannah]. The Art of Cookery, made Plain and Easy; which far exceeds any thing of the kind yet published..., To which are added, by way of Appendix, One hundred and fifty New and Useful Receipts, and a Copious Index. By a Lady, 7th edition, 1760, occasional light dust-soiling & minor marks, contemporary speckled sheep, rebacked preserving diced calf spine (former reback?), board corners worn, 8vo (1)
Plinius Secundus (Caius). Des Weitberumbten Hochgelehrten alten Philosophi und Naturkundigers, Bucher und Schrifften, von Natur, Art und Eigenschafft aller Creaturen oder Geschopffe Gottes..., Johannes Gaurn, Frankfurt, 1600, title printed in red and black with woodcut vignette, printed in black letter, numerous woodcut illustrations, lacking leaves Cc1-Cc2 (i.e. pages 203-206), a few light spots and marginal water stains, small marginal wormtracks towards end, one or two closed tears, early ownership signature to title, a few annotations front and rear, contemporary limp vellum, some soiling and stains, folio Sold with all faults not subject to return. (1)
The Art Journal, 20 volumes, a broken run, 1849-53, 1855-57 & 1859-1870, numerous steel engravings, wood engraved illustrations, complete, most with all edges gilt, all bound in contemporary non-uniform full or half morocco (two or three in calf), gilt decorated spines, generally in very good condition,large 4to (20)
Lake District. Frith's Photo-Pictures. The Lake District, Ambleside: Mason's Art Gallery & Bazaar, circa 1860s, printed title and 29 (of 30?) mounted albumen prints on 13 stiff card leaves, mostly 19.5 x 29 cm and mounted singly and back-to-back, plus 8 smaller mounted as pairs, negative numbers and some captions in the negatives, neat ink captions to mounts beneath, some spotting to mounts, all edges gilt, contemporary morocco with gilt clasp, rubbed, lower cover detached, oblong folio (1)
Saunders (James, 1743-1817). The Compleat Fisherman. Being a large and particular account, of all the several ways of fishing now practised in Europe; with abundance of curious secrets and niceties in the art of fishing, as well in the sea as in lakes, meers, ponds, rivers or brooks; whereby darts, spears, harpoons, nets, hook and line, or any other way whatsoever, printed for W. Mears, and S. Tooke, 1724, folding engraved frontispiece (somewhat spotted and relined), woodcut tail-piece at foot of final leaf, some spotting and minor marks, early ink ownership signature of Mr. Richardson to title verso, contemporary mottled calf, recased with original spine laid down, heavily rubbed and some wear, endpapers renewed, 12mo Thatcher page 447. Westwood & Satchell, page 189. (1)
The Art Journal Illustrated Catalogue of the Industry of All Nations 1851, London, George Virtue, hf cf gt, fo, a David & Charles reprint of same, three Baxter prints of Crystal Palace and the Exhibition, two contemporary decorative plates showing Crystal Palace, two volumes of Punch 1851 and various ephemera.
A reproduction metalwork desk lamp in the Art Nouveau manner, the tapering base with stylised floral moulded detail with finial cap set above two lamp heads, 72 cm tall approx including finial (finial loose) together with an associated contemporary leaded stained glass shade of tapering circular form with colourful decoration depicting dragonflies in the Liberty manner, 50 cm diameter approx
Markey Robinson (1918-1999) FLAMENCO DANCER, MALAGA, SPAIN gouache on board signed lower right; titled and with provenance on reverse 20 x 26in. (50.80 x 66.04cm) Collection of Zoltan Lewinter Frankl, Belfast;Collection of George and Maura McClelland Zoltan Lewinter-Frankl was Northern Ireland's only significant private patron of fine art throughout the 1940s and early 1950s, during the time that the post-war movement in Irish art was taking shape. He was a key source of support for artists such as Gerard Dillon, Daniel O'Neill, Colin Middleton, Markey Robinson and Jack Yeats, and went on to buy the work of the generation that followed them, which included Basil Blackshaw and T P Flanagan. When CEMA (the Council for the Encouragement of Music and the Arts, which would later become the Arts Council of Northern Ireland) organised its first touring exhibition of Contemporary Ulster Paintings to be shown in Scotland in 1951, thirty-seven of the forty-one works in the show came from the Frankl collection.Zoltan Frankl was born in Hungary in 1894 and was educated in Budapest. After service with a German Hussar regiment in the First World War (during which he was awarded the Iron Cross), he went to work in the wool and knitwear industry in Vienna. In 1924 he married Anny Lewinter, who owned a couture knitwear business, and by 1930 the couple were running a substantial factory. Following Germany's 1938 annexation of Austria, the Lewinter-Frankls, as Jews, were forced to flee the country for London. While in London, however, they were assiduously courted by the Northern Irish government, which had passed the New Industries Development Act in 1937 to encourage rural-based industries. The Lewinter-Frankls were invited to Belfast, and Sir Basil Brooke persuaded them to stay and set up textile factories. Frankl began collecting art almost as soon as he arrived in Northern Ireland. In 1944 he lent 39 pictures to a travelling exhibition of Ulster. All were Irish in origin including works by Nathaniel Hone, William Leech, Sean Keating and Jack B. Yeats. Also represented were William Conor, Hans Iten, Tom Carr and Paul Nietsche. In 1958 the Belfast Museum staged an exhibition of the highlights of Frankl's collection, and the catalogue ran to 248 works. Frankl was particularly friendly with Markey Robinson, whom he described in a catalogue introduction as 'the most amazing personality I have met for some time'. He also described Markey as Ireland's greatest artist in an arts magazine in 1948.Zoltan Lewinter-Frankl died in 1961. A portrait of Zoltan by his friend Paul Nietsche was gifted to the Ulster Museum in his memory.
* CATRIONA MILLAR,AFTER THE PARTYoil on canvas,100cm x 74.5cmFramed.Label verso: Riverside Gallery, Aberdeenshire.Note: Ever since Catriona Millar's 2005 Degree Show at Gray's School of Art in Aberdeen sold out within hours her unique and highly distinctive figurative oil paintings have captivated and delighted art collectors.The Sunday Herald newspaper has ranked Catriona Millar in the top five most collectable Scottish artists and her work is admired and collected throughout Europe, the Far East and America. She has won the respect and acclaim of collectors, critics and leading galleries while her stunning works continue to enjoy a special place amongst the contemporary art buying public. Catriona Millar's paintings speak a universal language to all ages and over recent years many schools around the world have studied her work.See Scottish Television (STV) report at: https://vimeo.com/34197015Catriona Millar is listed in the 2012 edition of Who's Who in Scotland.
*JUNE REDFERN,SOUTHERN SHOREoil on linen, signed, titled and dated 2002 verso39cm x 29.5cmFramedLabel verso: Aitken & Dott Ltd, The Scottish Gallery, EdinburghExhibited: The Scottish Gallery, Edinburgh, 'Christmas Exhibition 2002', 30 November - 24 December, 2002Note: June Redfern’s work is widely represented in private and public collections including: National Gallery (London), Leeds Education Authority, Contemporary Art Society (London), Middlesborough Art Gallery, Dundee Art Gallery, Charlotte Englehart Foundation, Bradford Art Gallery, Laing Art Gallery, Kirkcaldy Art Gallery, University of Strathclyde, Michael Peters Group plc, Robert Fleming plc, Arthur Anderson, Texaco plc, Hiscox Holdings, Berkshire Associates, Proctor and Gamble, Spectrum (London), Standard Life, Scottish National Gallery of Modern Art, Aberdeen Art Gallery, Maclaurin Art Gallery, Glasgow Museum and Art Gallery, Lewisham College, Lillie Art Gallery (Glasgow), Paintings in Hospitals, BBC Television and Albertina Museum (Vienna).
* MITCH GRIFFITHS (BRITISH B 1971 - ),SEE NO EVILoil on canvas120cm x 100cmFramedGallery label verso: Halcyon Gallery, Knightsbridge, London. Inscribed with title, artist's name and stock no.Provenance: Deceased estate. This painting is shown and documented on the artist's website and was completed in 2006.Note: On 7th June 2016, the State Hermitage Museum in St Petersburg, Russia unveiled 21 works by Mitch Griffiths as part of the remarkable exhibition: Realisms. The paintings, selected by Dimitri Ozerkov, Curator and Director of the Contemporary Art Department at the State Hermitage Museum, were exhibited at the historic institution until 18 September. The unique opportunity to exhibit at one of the world's largest and most prestigious museums of art and culture marks a seminal moment in Griffiths' already celbrated career and the collection on display spanned the breadth of Griffiths' artistic concerns for more than a decade. Please see: http://www.halcyongallery.com/artists/mitch-griffiths Note: This is believed to be the first major work by Mitch Griffiths to be offered at public auction.
Nineteen boxes of auction and dealer art catalogues, including: Oriental art, three boxes; Modern British Art, four boxes; Watercolours and Drawings; Old Master and Modern prints; Impressionist Post War and Contemporary art; 20th century Decorative and Applied arts, with associated art journals and other miscellaneous categories included; also a quantity of miscellaneous music and other magazines as well as two boxes on sport and the Olympic Games and World War I histories (qty)
JOHN THOMAS (1813-1862) UNDER THE DIRECTION OF SIR CHARLES BARRY (1795-1860) AN ANSTON STONE STATUE OF QUEEN VICTORIA holding an orb, the reverse with a bronze fixing and inscribed "Southwick", 68" high. See illustration Provenance: The Houses of Parliament The Gladstone Family at Moortown House, Ringwood, Hampshire. Private collection, Hampshire. John Thomas (1813-1862) was Superintendent of Stone-Carving at the Houses of Parliament (cf. MH Port: "The Houses of Parliament", published for the Paul Mellon Centre for Studies in British Art 1976, pg. 243, pl. 164. for a reproduction of the wash drawing for the statue of Queen Victoria by John Thomas). It was under his supervision that the Gothic-style statues for the exterior of the building were supplied by the Thames Bank Workshop. On pg. 245 of the same volume, Port states: "It is impossible to make out individual contributors to the architectural sculpture", but from this inscribed example it would appear that Southwick was one of them. John Thomas was born in Gloucestershire and his earliest employment in that locality was restoring the lettering and sometimes the sculptural decoration of gravestones, which gave him experience in an important area of Perpendicular Churches. A visit to Oxford focused his attention more specifically on drawing architectural details correctly and developing skill and knowledge as a carver. Then at Birmingham, where his brother was an architect, he worked on a number of large buildings including Barry's King Edward VI Grammar School and it was as a result of his competence in Gothic detailing that he came to Barry's notice. Although Thomas was not officially appointed Superintendent of Stone-Carving at Westminster until 1846, Barry probably engaged him soon after the completion of the Birmingham school and on 13th May 1841 the Office of Works approved Barry's arrangement with Thomas for the stone-carving. Barry's own contribution to the design of the sculptural programme cannot be in much doubt. He would undoubtedly have drawn up the overall plan subsequently delegating certain specific areas to qualified specialists. Precise dating for the various elements of the sculptural programme is not easy. Specific contemporary references to the sculpture are rare and often incidental, but it is possible to propose an outline chronology. Ryde's "Illustrations" of 1849 shows this statue flanked by Justice and Mercy and writes of the sculpture of the porch as if it were in situ. In an illustration of the State Opening of Parliament in 1852 the figures are shown in position.
John Piper (British, 1903-1992), a framed and glazed Limited Edition (12/150) colour Screen Print, "Fountains Abbey, Yorkshire", signed lower right in pencil in the margin by Piper and also with blind stamp lower right, image size 45cm x 62cm, with Christie's Contemporary Art Certificate and Christie's original sales invoice dated 1981 CONDITION REPORT: Very good with no problems with no problems/conditions issues noted, still retains strong bright colours.
John Piper (British, 1903-1992), a framed and glazed Limited Edition (14/120) colour Screen Print, "The Court House, Long Crendon', (near Thames, 14th Century Staple Hall, probably used as a wool store), created for the 1978 National Trust Collection, signed lower right in pencil in the margin by Piper and also with blind stamp lower right, image size 42cm x 58cm, together with Christie's Contemporary Art Certificate CONDITION REPORT: Generally very good overall with some very minor spots/thunderflies to underside of glass visible in border, the left and right hand sides and bottom have been cut by guillotine and the top the paper looks as if it has been torn by hand, generally all good original condition.
William Alexander Dargie (Australian, 1912-2003), "The Volcano at Rabaul", Oil on Board, an impressionist landscape depicting natives before a volcano, signed lower right 'Dargie',contemporary gilt frame, 23.5cm x 28.5cm. Sir William Dargie was a society painter commissioned by Queen Elizabeth II and Prince Philip, the Duke of Gloucester, Viscount Dunrossil and prime minister, Sir Robert Menzies. Appointed OBE in 1959, CBE in 1969 and KB in 1970, Dargie also stood as the chairman of The Commonwealth Art Advisory Board
HORNE, THOMAS HARTWELL "An introduction to the Study of Bibliography: to which is prefixed a Memoir on the Public Libraries of the Antients", London, T. Cadell & W. Davies, Strand 1814, two volumes. Folding frontis to Vol I, offsetting on title page, two folding plates, illustrations in text. Vol II has one folding plate and seven other plates, some illustrations through text. Both half-leather with contemporary marble boards, gilt titles, bookseller's plate 'H.T. Harris, Stationer, Bookbinder', bookplate inside both front boards, some foxing. [KERSEY, JOHN] "A New English Dictionary: A Compleat Collection of the Most Proper and Significant Words and Terms of Art Commonly Used in the Language…" London, J. & J. Bonwicke, 1752, 6th edition, full-leather, raised bands, spine worn, ink marks on boards, library bookplate inside front board. SWIFT, DR JONATHAN "The works of Dr. Jonathan Swift, Vol I containing 'A Tale of a Tub' …" London, C. Bathurst, 1751, frontis, half-title and title page and six other plates, marble boards, half-leather, backstrip torn, 16mo, possibly trimmed in rebinding; KENEVETT & ARLISS, "Diamond Edition of Johnson's Dictionary" London, published by Kenevett & Arliss & Co, Bartholomew Close, West Smithfield, engraved vignette on half-title, two slips of paper pinned onto second ffep, pencil and pen inscriptions on ffep, full-leather, front board detaching and "THE ORIGINS OF PRINTING in Two Essays - I The Substance of Dr Middleton's Dissertation on the Origin of Printing in England - II Mr Meerman's Account of the Invention of the Art at Harleim and its Progress to Mentz..." W. Bower and J. Nichols 1776, second edition, full tree calf, bookplate inside front board, pastedown title (6)
15th century AD. A large facetted D-section gold hoop with expanding shoulders, ridged rectangular bezel; pentagonal panel to one shoulder with radiating strokes beneath, reserved image of crowned and nimbate Virgin Mary with nimbate infant Jesus; similar panel to the other shoulder, reserved Calvary scene with Corpus Christi and nimbate winged head above; left panel of bezel with reserved image of nimbate S. Peter holding a key; right panel with similar image of St. Paul with book and drawn sword; to the inner face engraved legend in Lombard script '*Crucem.Christi.Gero*' (I bear the cross of Christ"). Cf. Oman, C.C. British Rings 800-1914 London, 1974, plate 22(D); Dalton, O.M. The Franks Bequest Catalogue of Finger Rings, London, 1912, item 753 for type. Accompanied by an Art Loss Register certificate. 21 grams, 30mm overall, 23.36mm internal diameter (approximate size British Z+3 1/2, USA 14, Europe 33.29, Japan 32) (1 1/4"). From an important jewellery collection; by descent through the Smigielski family; formerly with the current owner's grandfather Franz Retyk; acquired in Europe by her father or his brother in Belgium during the 1920s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. Iconographic rings appear to be English in origin and originate in the late fourteenth century and continue into the fifteenth century, losing favour under the Reformation of Henry VIII. Iconographic rings are mostly religious in their subject matter with the most popular saints depicted on them being St Christopher and St Catherine, both of whom had important cults in medieval England and offered protection and intercession to the wearer. Other popular images included the Virgin Mary and, as on this ring, the Crucifixion. Some bear inscriptions that are either religious in nature, and therefore could have acted as prayer rings for personal devotion, or which sometimes have messages of love and therefore could have been given as love tokens and which underscores the the gift giving aspect of small scale jewellery. There are contemporary literary references to the rings being given as gifts, particularly at New Year, to protect the wearer, and many as such are inscribed with these sentiments. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. A large wearable glove ring.
18th-19th century AD. A gold round-section hoop with rectangular bezel, insert amethyst intaglio with portrait of a man in Roman style; inscription to the inner face: 'In memory of Twining(?) Esq., died 14(?"). aged 85'; in contemporary hinged case. 7.56 grams, 21.46 overall, 18.06 inner diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16) (3/4"). Property of a London gentleman; acquired from a major Mayfair gallery; acquired on the London art market before 2000. Fine condition.
Hudleston, S. AGAINST ALL ODDS - GEORGE PEMBA: HIS LIFE AND WORKS Jonathan Ball Publisher, Johannesburg, 1996, first edition. Numerous colour and B&W illustrations. Soft cover. Fine. This lot includes: * LIFE LINE OUT OF AFRICA: THE ART OF ERNEST MANCOBA Miles, Dr E., Human & Rousseau, Cape Town, 1994. * IMAGES OF MAN: CONTEMPORARY SOUTH AFRICAN BLACK ART & ARTISTS De Jager, E. J., Fort Hare University Press, Alice, 1992. First Edition. PROVENANCE Johans Borman Fine Art
Maggie (Maria Magdalena) Laubser (South African 1886-1973) PORTRAIT OF A GIRL WITH HEAD SCARF HOLDING A PUMPKIN signed oil on canvas Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg, 1994, illustrated on p 246 cat no 888 Meintjes, J. Maggie Laubser, Jacques Dusseau and Co, Cape Town, J. H. de Bussy, Pretoria, 1944, illustrated on p 11 PROVENANCE Mrs Wegener, Vereeniging; acquired from the exhibition Constantia Gallery, Johannesburg,1946, and thence by descent to the current owner 54 by 44cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64
Maggie (Maria Magdalena) Laubser (South African 1886-1973) VROU VOOR VISSERHUISIES signed and dated 40 charcoal on paper The South African National Gallery, Cape Town, 1969, cat no 172 Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg,1994 illustrated on p 269, cat no 1033 PROVENANCE Wolpe Galley Michael Stevenson, Cape Town Johans Borman Fine Art 50 by 58cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64
Damien Hirst (British 1965 -) IN-A-GADDA-DA-VIDA signed colour silkscreen and offset lithograph on two sheets of wallpaper each sheet size: 106 by 52cm Damien Hirst, arguably the most celebrated creative to come from the Young British Artists (YBAs) movement, completed his training at Goldsmiths College in London. In 1988 Hirst conceived and created ‘Freeze’an exhibition of his work as well as the work of his fellow students at Goldsmiths. In the 28 years following that show, Hirst has become one of the most prominent artists of his generation. His work is widely recognised, from the shark suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and his spot, spin and butterfly paintings, through to later works like For the Love of God (2007), a diamond encrusted skull. Throughout his work, Hirst takes a direct and challenging approach to ideas about existence. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. Hirst uses the tools and iconography of science and religion, creating sculptures and paintings whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains. “There are four important things in life: religion, love, art and science,” the artist has said. “At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be alright in the end.” The wallpaper exhibited in lot 816 takes its name from the Tate Britain exhibition in which it was originally used to clad the walls of this highly respected institution. The name for the exhibition, In-A-Gadda-Da-Vida, was borrowed from the title track of an LP released in 1968 by the rock band, Iron Butterfly. The song was originally going to be called ‘In the Garden of Eden’. Legend has it that the lead singer was so drunk when he first announced the song’s title that one of the band members wrote down phonetically the slurred words ‘In-A-Gadda-Da-Vida’. The title suggests an overt theme: broadly, the contemporary consequences of the original myth of falling from grace, but the exhibition also reveals the differing formal and material approaches of three artists, Sarah Lucas, Angus Fairhurst and Damien Hirst, and how they use metaphor in diverse ways. In this exhibition, Hirst constructed complex installations inside vitrines and displayed grandiose collages using real butterflies and flies in addition to designing the very intricate wallpaper which we see in lot 816. - Barkham, P., Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting, The Guardian, 18 April 2012 Online, available: https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting - Gagosian, Damien Hirst. Online, available: http://www.gagosian.com/artists/damien-hirst - Tate Britain, In-a-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas, March 2004. Online, available: http://www.tate.org.uk/whats-on/tate-britain/exhibition/gadda-da-vida
Various A COLLECTION OF SOUTH AFRICAN ART REFERENCE BOOKS Including the following: • Berman, E. ART AND ARTISTS OF SOUTH AFRICA Balkema Cape Town, 1983, enlarged edition. Fair. Blue cloth. Dust jacket shelfworn. Previous owners plate on endpaper. Internally clean. • Martienssen, H. TWENTIETH CENTURY SOUTH AFRICAN ART Human & Rousseau, Cape Town, 1966. Good. Beige cloth. Dust jacket torn top and bottom of spine with some paperloss. • de Jager, E.J. CONTEMPORARY AFRICAN ART IN SOUTH AFRICA Struik, Cape Town, 1973. Beige cloth. Good. One tear in dust jacket. • Jeppe, H. SUID AFRIKAANSE KUNSTENAARS 1900 – 1962 Afrikaanse Pers-boekhandel, Johannesburg, 1964. Blue cloth. Dust jacket shows some shelfwear. • Various ONS KUNS Lantern & S.A. Uitsaaikorporasie, Pretoria, 1969. Without plastic boards. Text block in good condition. • Various ONS KUNS 2 SA Vereniging vir die Bevordering Kennis en Kultuur, Pretoria, 1961. Fair. Soft cover with plastic wrap. Some paperloss on spine. • Various ONS KUNS 3 Toerien, H & Duby (eds), Die Stigting vir Onderwys, Wetenskap en Tegnologie, Pretoria. Pink cloth. Dust jacket in good condition with minimal shelfwear. PROVENANCE Johans Borman Fine Art
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