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Lot 342
Regency Clock. A Regency period bronze and ormolu mantel clock by Baetens, 23 Gerrard Street, Soho, London, the fine bronze case with white circular enamel dial with black roman numerals, gilt metal hands and winding hole, adorned with a figure of a philosopher/explorer in 17th century dress, his hand resting on the clock whilst holding a scroll/map, the integral rectangular base applied with ormolu cherub mask flanked by swags on ball feet, with pendulum and associated key, 22cm high x 19cm wide Qty: (1)Footnote: Baeten's & Co-produced clocks at 23 Gerrard Street, Soho, London from about 1814, the factory specialised in manufacturing clocks in bronze and ormolu which was unusual for the time as many clock manufacturers had to outsource firms to make the cases.
Lot 370
Dress Rings. A 15ct gold opal ring, the flat oval opal in poor condition, size Q/R, together with a 9ct gold and opal ring, the oval opal cabochon set in wire scoll mount, size J/K, a yellow metal carnelian ring, the bulbous cabochon set in peg claws, size K, plus a white metal and quartz solitaire ring, size M/N Qty: (4)
Lot 382
Mixed Jewellery. A 9ct gold dress ring, set with a purple stone surrounded by pearls, stamped '9ct', size L, together with 3 further dress rings including a 9ct gold ring set with a large green stone, stamped '375', size N/O, plus a cultured pearl bracelet with 9ct gold clasp inset with peridot, 22cm long a collection of costume jewellery Qty: (small box )
Lot 542
Children's clothes. A Regency girl's dress, circa 1810, hand-stitched long cotton baby dress, with fine purple seaweed pattern on a flecked white and lilac ground, bodice gathered at the front, short petal sleeves with double row of fine white braid, and dainty lace edging, close-gathered high waist, neck and waist with drawstring tie at back, some small marks and 1 or 2 tiny holes, chest 25cm (17ins), waist 38cm (15ins), sleeves 6.5cm (2.5ins), length 99cm (39ins), together with 2 other Regency cotton baby dresses similar, and an unusual child's patchwork dress, composed of small rectangular patches of colour-printed flags and military badges, somewhat faded and worn, plus:A set of matching christening clothes, circa 1890s, comprising: a handmade cream silk baby gown, the bodice and long sleeves overlaid with net hand-worked with metallic threads forming large flowers and leaf sprays, button fastening to rear, hem with chiffon ruffle edging, chest 48cm (19ins), waist 42cm (16.5ins), length 82.5cm (32.5ins); a cream silk bonnet with metalwork as before, and a cream chiffon rosette to centre, matching satin ribbon ties (slightly perishing in a few places), with a bow at each side embellished with a metallic ribbon rosette; and a cream silk cape, stitched all over with faux pearls in a scalloped design (decorative chiffon ruffle hiding stitches on lining), some pearls missing, pleated neck trimmed with a cream chiffon rosette between metallic ribbon leaves, matching satin ribbon ties (perishing in places), some small stains, length 104cm (41ins)Qty: (7)
Lot 548
Dress. A cream satin wedding gown with bustled trained skirt, circa 1880s, handmade dress, with boned fitted bodice, front opening with 16 self buttons, high stand-up neck, and long narrow sleeves with wide gathered and frilled cuffs, the neck and sleeves heavily ruched, front of bustle skirt with horizontal gathers and frills, train trimmed with rows of gathered ruffles, hem with lace edging, fully lined, some light stains and minor marks to the lower part of the skirt rear, bust 76cm (30ins), waist 58cm (23ins), length (excluding train) 128.5cm (50.5ins)Qty: (1)Footnote: A beautifully-made wedding gown, elaborately-detailed and in very good condition.
Lot 549
Dress. A gown of early 18th century Chinese export silk damask, hand-stitched dress of silk damask, with large pattern of latticework and flowers, including roses and tulips, amongst scattered acorns, in pink on a pale silver-pink ground, open-fronted, with elbow-length sleeves, and tucks on reverse terminating in a v-shape (possibly of later construction, and with alterations), selvedges with double green line (width of fabric 55.5cm), occasional small marks, but fabric robust, skirt lined in cream silk, lining worn, length 142 (56ins)Qty: (1)Footnote: Typical of silk damask designed for the Western market and manufactured in China; this fabric would likely have been woven between 1710 and 1740. For similar silk damask see dress and night gown in the V&A (T.35-1972 and T31.2012 respectively). Such silks were primarily intended for furnishing, and appear in merchants' records as 'bed damasks'; the length of their large pattern repeat was displayed to best advantage in the long drop of bed curtains.
Lot 551
Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), hand-stitched horizontal join 35cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9cm and 59 x 16cm), overall size 216 x 149cm (85 x 58.5ins)Qty: (1)Footnote: Provenance: Private Collection.Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece - new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress.This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel.The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker's A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of 'redwork' is wide, each piece reflecting the individuality of the stitcher.The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature.Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers' Guild, and the V&A.
Lot 571
Handkerchief. A flapper girl handkerchief, plus garter, 1920s, & other handkerchiefs, picot-edged cream silk handkerchief, one corner with hand-painted head & shoulders portrait of a young girl wearing a green dress and matching wide-brimmed hat, highlighted in gold, 23.5 x 23.5cm (9.25 x 9.25ins), together with a pale pink satin garter embellished with a white fur-edged flapper girl button, lower edge of button with slight discolouration, diameter of garter 38cm (15ins), plus 19 other handkerchiefs various, including printed, lace, embroidered, some hand-worked, including a 1930s handkerchief depicting young people engaged in outdoor pursuits, with 'Health and Beauty' caption around edge, various sizes, mostly in good conditionQty: (21)
Lot 602
Toile de Jouy. A bedcover made from early 19th century Toile de Jouy fabric, French, bedcover printed in raspberry on a white cotton ground, lined with linen and hand-quilted overall in pale thread, with machine stitching to hem, depicting a variety of scenes with figures in 16th century dress, including a horseman firing a flintlock pistol in the air, a group of figures beseeching a gentleman in a garden, and a mounted horseman with pillion rider and onlookers, some minor wear (mostly to piping), 2 small patches in Toile de Jouy of a different design (29.5 x 8.5cm and 13 x 8cm), lining with holes and some stains, main panel to fit bed 221 x 132cm (87 x 52ins), side panels 46cm (18ins) deepQty: (1)
Lot 39
AN 18CT GOLD DIAMOND AND RUBY DRESS RING the shank marked for Birmingham 1902, ring size N-N ½ , weight 3.1grams Condition Report : one out of three rubies missing, two out of fourteen small rose cut diamonds missing, shank slightly misshapen, diamonds in need of a clean Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 12
TWO 9CT GOLD RINGS Comprising of a sapphire and diamond accent dress ring, size P, weight 2.5g; and a white gold band ring, size R, weight 3.5g. Condition Report : Both rings marked 375 with faded hallmarks. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 299
A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 16TH-17TH CENTURYLaos. Seated in virasana atop a shaped tiered base with incised lotus petals, his right hand in bhumisparshamudra, the left resting on his lap, wearing samghati, his face with downcast expression, incised eyes, aquiline nose, smiling lips, elongated earlobes, curled hair dress and usnisha, the latter surmounted by a jewel.Provenance: French trade.Condition: Good condition, commensurate with age. Areas of minor heat damage. The jewel surmounting the ushnisha is a later replacement. Old lacquer coating and remnants of gilt. Minor wear and casting flaws, small dents, some losses, minuscule nicks, and light scratches. The base with a small old repair (ca. 6 x 6 cm), well-visible from the inside. The interior with malachite-green encrustation.Weight: 5,202 gDimensions: Height 41.5 cmAuction result comparison: Compare a closely related bronze of Buddha Shakyamuni, 34 cm high, dated to the late 16th century, at Christie's Amsterdam in Indian, Himalayan and Southeast Asian Art on 31 October 2000, lot 112, sold for NLG 19,893 (approx. EUR 9,027).
Lot 251
A RARE SILK EMBROIDERED CHESTNUT-GROUND CHILD'S DRAGON ROBE, JIFU, QING DYNASTYChina, late 18th - late 19th century. Finely woven in silk and gold thread with eight four-clawed dragons pursuing flaming pearls amid multi-colored clouds interspersed with bats, peonies, and Buddhist symbols, all above the terrestrial diagram, turbulent waves, and lishui stripe with peonies at the hem, the midnight blue-ground cuffs and collar bands worked with further dragons.Provenance: From the collection of a lady of title in the United Kingdom.Condition: Very good condition with minor wear, few loose threads, and little soiling.Dimensions: Length 99 cm, Width 151 cmExpert's note: The present robe is rare in that it appears to be based on official court clothing but was nevertheless made for a child, who would not have been permitted to attend court functions - except an Emperor himself in his minority, which would not have been the case before the mid-19th century. Compare a similar robe illustrated by M. Myers, Silks for Thrones and Altars, Blanchard, 2003, page 66, number 28, which the author describes as quasi-official, and suggests that it would have been worn at personal and seasonal celebrations within a family context. Such family occasions would mirror the court functions of the time, with the patriarch and matriarch viewed as emperor and empress within the family, and similar gradations of status conferred on family members and reflected in their apparel. This would achieve the sense of universal order and harmony within the family context which the emperor embodied on a larger scale for the nation. The close resemblance of a boy's dress to an adult's encourages the son to emulate the status and importance of the father.Auction result comparison: Compare a related chestnut-ground silk gauze child's robe, 92 cm long, dated to the Jiaqing period, at Bonhams New York in Chinese Paintings and Works of Art on 14 September 2015, lot 8091, bought-in at an estimate of USD 30,000-50,000. Compare a related chestnut-ground silk gauze child's robe, 92.3 cm long and 154.8 cm wide, dated to the late 18th century, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 664, sold for USD 11,875 (approx. USD 15,565 today after inflation). 清代栗色地兒童如意富貴龍紋吉服中國，十八世紀末至十九世紀末。圓領，大襟右衽，馬蹄袖端，雲龍雜寶領、襟邊和袖端。龍袍面為栗色地緙絲五爪彩雲金龍紋，間以八吉祥、蝙蝠、牡丹等紋樣，下擺江崖麗水紋。 來源：英國一位有爵位的女士的收藏 。 品相：狀況極好，輕微磨損，絲線鬆動，輕微污漬。 尺寸：長99 厘米，寬 151 厘米 拍賣結果比較：比較一件相近的嘉慶時期的栗色地兒童絲袍，長 92 厘米，見紐約邦翰思Chinese Paintings and Works of Art 2015年9月14日 lot 8091, 估價USD 30,000-50,000；比較一件相近的十八世紀末栗色地兒童絲袍，長92.3 厘米，寬154.8 厘米 ，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 664, 售價USD 11,875 (約現今USD 15,565)。
Lot 14
A BRONZE 'PUXIAN' ELEPHANT-FORM CENSER, MING DYNASTYChina, 1368-1644. The mighty animal standing foursquare in an alert posture with flared ears. The thick curved trunk is flanked by a pair of large tusks with smaller auxiliary tusks, which clearly identifies the beast as the elephant of Samantabhadra (Puxian). A seat atop its back is fitted with a loop to the backside, once used to attach the cover of the incense burner.Provenance: French trade.Condition: Good condition with minor wear and casting flaws, small nicks and dents, light scratches, the cover lost. Fine, naturally grown patina overall.Weight: 3,405 gDimensions: Height 20.5 cm, Length 28 cmSamantabhadra is the bodhisattva associated with the practice of Buddhist teaching and joins Manjushri, the lord of transcendent wisdom, in a trinity with Shakyamuni Buddha. The deity is known as 'He whose bounty is omnipresent' and represents the Buddhist Law and compassion. The bodhisattva is borne by a white elephant, symbolic of the strength achieved through the practice of Buddhism.Known as Puxian in Chinese, he is sometimes shown in Chinese art with feminine characteristics, bearing similar dress and features to some depictions of Guanyin. It is in this guise that Samantabhadra is revered as the patron bodhisattva of the monasteries associated with Mount Emei in western China. Some believe that the white elephant mount of Samantabhadra was the same elephant that appeared to Queen Maya, the mother of the Buddha, to herald his birth.Auction result comparison: Compare a related bronze elephant-form censer, 37 cm long, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 4 April 2017, lot 64, sold for HKD 100,000. 明代象形爐中國，1368-1644年。動物立於四足，大耳張開。粗壯的身軀，一對大牙，其背部頂部有一個環，曾經用於連接香爐的蓋子。來源：法國古玩市場。 品相：狀況良好，有輕微磨損和鑄造瑕疵、小刻痕和凹痕、輕微劃痕、蓋子丟失。整體上包漿自然細膩。重量：3,405 克 尺寸：高20.5 厘米, 長28 厘米 拍賣結果比較：比較一件相近的明末象形銅爐，長37 厘米，見香港佳士得The Pavilion Sale 2017年4月4日 lot 64, 售價HKD 100,000。
Lot 255
AN EMBROIDERED 'MIDNIGHT BLUE' SILK FORMAL COURT ROBE, CHAOFUChina, 19th century. The robe is worked in couched gold thread and multi-colored satin stitch on the upper half with four five-clawed dragons amidst clouds and Buddhist emblems, all above the terrestrial diagram at the waist. The attached pleated and flared apron similarly worked and joined by a narrow waistband decorated with confronted dragons. The robe fitted with fine gilt metal buttons.Provenance: From an old German private collection, assembled during the 1970s and 1980s.Condition: Good condition with some wear and traces of use, little soiling, loose threads, minor tears, few small losses.Dimensions: Length 112 cm, Width 218 cmThe chaofu, or attire of state, is the most important of the ceremonial costumes of the Qing court comprising: chaopao or robe of the state, piling or projecting epaulets, hat, girdle, court necklace, and boots. The two-part construction of chaopao consisted of a short side-fastening jacket attached to a pleated skirt, derived from Ming styles of court dress, and was adapted by the Manchu to incorporate features reflecting their equestrian heritage, such as the curved overlapping right front, a shape derived from animal skins which was added for extra covering and protection; narrow sleeves with their lower portion replaced with ribbed silk, allowing the wearer to bend his arm more easily when hunting; and horse-hoof cuffs, originally intended to protect the hands when riding in bad weather.The present chaopao is embroidered with four front-facing, five-clawed dragons on the upper body and four five-clawed dragons shown in profile on the skirt, which correspond to the specifications cited in Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court) for a first-rank or second-rank prince.Literature comparison: Several examples of these important robes can be found in museum collections, including a similar deep-blue silk gauze chaofu, dated to 1870-80, in the Museum of Fine Arts Boston, number 1974.408, and another embroidered silk chaofu in the Metropolitan Museum of Art, New York, number 35.84.3, dated to the second half of the 19th century. Auction result comparison: Compare a closely related robe, 141.6 cm long and 195.5 cm wide, also dated to the 19th century and embroidered with four front-facing, five-clawed dragons on the upper body and four five-clawed dragons shown in profile on the skirt, at Christie's New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1618, sold for USD 12,500.清代石青色龍紋朝服中國，十九世紀。圓領，大襟右衽，馬蹄袖，上衣下裳相連屬式，綴銅鎏金扣五枚。石青色地，上衣部分平金彩繡雲龍，腰襴繡海水二龍戲珠，膝襴處雲龍海水紋，構圖繁複莊重。配有精美的鎏金鈕扣。 來源：德國私人老收藏，建立於上世紀七十至八十年代。 品相：狀況良好，有一些磨損和使用痕跡，輕微污漬，絲線鬆動，輕微撕裂，輕微小缺損。 尺寸：長112 厘米, 寬 218 厘米 拍賣結果比較：比較一件十分相近的十九世紀朝服，長141.6 厘米，寬195.5 厘米，四條正面五爪龍，四條側面五爪龍，見紐約佳士得Important Chinese Ceramics and Works of Art 2020年9月25日 lot 1618, 售價USD 12,500。
Lot 19
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)The Dancing Bride, circa mid-1960s signed 'Y Adebayo Grillo' (verso)oil on board122 x 81cm (48 1/16 x 31 7/8in).Footnotes:ProvenanceA private collection, UK.With a career extending over six decades, Yusuf Grillo (1935-2021) is one of the most significant figures in Nigerian art. As a young man, he belonged to the influential Zaria Art Group formed by pioneering artists including Uche Okeke, Bruce Onobrakpeya, and Demas Nwoko while studying together at the Nigerian College of Arts, Science and Technology, Zaria in the 1950s. These artists challenged the hegemony of the European canon in the landscape of contemporary African art. They embraced their West-African cultural heritage to establish a modern Nigerian aesthetic at a time when the country was fighting for its independence from British colonial rule. Elements of Western art history were fused with themes, techniques, and mediums indigenous to Nigeria in a process that Okeke termed 'Natural Synthesis'. While Grillo proactively engaged with the ideas propagated by the Zaria Art Group, he distinguished his approach to artmaking by privileging the role of the individual artist in this process of synthesisation. Working across diverse media including painting, sculpture, mosaic, and stained glass, he asserted that this fusion of European and Nigerian references ought to be seen 'in the light' of individual experience 'knowing that you are part of the system' (Grillo quoted in Sike and Oyelola, 1988: p. 64). Grillo's conviction in the significance of the artist's creative vision led to his own formulation of a distinctive painterly style and subject matter, as evidenced in The Dancing Bride. Thematically, Grillo painted the people he encountered in Lagos. He favoured female subjects and had a particular interest in the Yoruba heritage which he believed to be at the heart of the city in which he was born and lived most of his life. In the present work, he captures a moment of celebration. A sense of movement is conveyed through the energetic brushstrokes used to depict the dynamic stance of the female figure: her weight rests on one leg while her hips are cocked to the side as if anticipating the next step of the dance. Executed in the cool blue and purple tones synonymous with Grillo's paintings, The Dancing Bride evidences the influence of both Pablo Picasso's Blue Period (which the artist had encountered as a student in Zaria) and abide (the indigo-dyed cloth of the Yoruba people). While Grillo primarily takes the human figure as his subject, Chika Okeke-Agulu argues that this 'subject matter is meaningful only to the extent that it permits him to engage enduringly and passionately with form, colour and painting' (C. Okeke-Agulu, 2020: p. 41). The female figure is elongated in a process of stylization. Reflecting Grillo's enduring interest in mathematics, her body is expressed through flattened planes that echo the geometric shapes that comprise the non-representational background. The drapery of the bride's dress is transformed into curved forms which are carefully balanced against the jagged triangles that frame the figure. As in his other paintings from the mid-1960s depicting stylised women such as Two Women (1965) and Ayi and Tayi (1965), Grillo's engagement with the female form can be conceived as much a formalist experiment as a representational exercise. Fusing mathematics, Western art historical references, and Yoruba culture, through The Dancing Bride Grillo synthesises a distinctive approach to painting which stands as a powerful contribution to postcolonial modernism within the canon of Nigerian art.BibliographyPaul Chike Dike and Pat Oyelola (eds.), The Zaria Art Society: A New Consciousness (Lagos, 1998)Chika Okeke-Agulu, Yufus Grillo: Painting. Lagos. Life (Milan, 2020).For further information on this lot please visit Bonhams.com
Lot 29
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)My Mama at 80 titled, signed and dated 'MY MAMA/AT 80/ Ben Enwonwu/ 1973' (lower right)oil on canvas72 x 49.5cm (28 3/8 x 19 1/2in).Footnotes:ProvenanceThe artist's family.Painted in 1973, My Mama at 80 offers a striking portrait depicting the mother of the renowned pioneer of African modernism Odinigwe Benedict Chukwukadibia Enwonwu MBE, better known as Ben Enwonwu (1917-1994). The artist's mother, Ajie Iyom Nweze Enwonwu, was born and lived in Onitsha on the eastern bank of the Niger river in Nigeria. She used the city as the base for her successful business trading textiles. While the demands of the textile trade frequently took Iyom Nweze away from the family when Enwonwu was a young child, they developed an exceptionally close relationship in her later years. The depth of this bond is illustrated through the intimate quality of the artist's approach to his subject. His expressive handling of paint is applied using individuated brushstrokes. The tactility of the strokes convey the psychological complexity of the subject through visceral passages of blue-green, creamy white, and deep brown, all juxtaposed with flushed pinks to great effect.Enwonwu's depiction of his mother conveys the matriarch's reputation as a formidable force in family and business matters alike. The composition of the portrait is closely cropped to her head and shoulders to focalise her direct gaze and stoic expression. Her command of authority is further expressed through Enwonwu's decision to paint Iyom Nweze in her Òtù Ọdụ title regalia (also referred to as Omu regalia in S. Ogbechie, 2008: p. 194). The Ọdụ title was granted to Onitsha women who were deemed to be important contributors to the progress, development, and peace of the local community. They were understood to constitute the elite women's socio-political and economic group and were accordingly granted the title Iyom. In the portrait, Enwonwu depicts Iyom Nweze in the official dress of the Òtù Ọdụ: two white loin cloths tied over each other, a white head tie, and a coral bead necklace. These were worn in addition to bangles and anklets made from elephant tusk - a valuable material which symbolises wealth, beauty, royalty, and authority in Onitsha culture. As the only known painting of his mother by the artist, the portrait is exceptional within Enwonwu's oeuvre. The highly personal subject matter situates the work within a broader lineage of artists who sought to represent close family members through their artmaking – a trope particularly prevalent in the Western painterly traditions that constituted a significant part of Enwonwu's training in Nigeria and at the Slade School of Fine Art in London where he studied in the 1940s. The non-representational dappled blue background and passages of pink paint applied to the cheeks of the subject particularly evoke Paul Cézanne's portraits of his wife, Marie-Hortense Fiquet, created in the 1880s. The French artist's experimental approach to painterly technique was of great inspiration to Enwonwu. During his lecture tour in the United States in 1949, he declared, 'Cézanne was a bad technician but he is among the greatest of the Impressionists' (Enwonwu quoted in S. Ogbechie, 2008: p. 107). Taking a similarly experimental approach to his own portraiture, Enwonwu fused such references to Western modes of figurative representation with traditional Igbo tropes to formulate a distinctly modern Nigerian aesthetic. He argued for the importance of embracing Western techniques while retaining the traditions of African art: 'Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible' (Enwonwu quoted in Ogbechie, 2008: p. 79). This impetus to cultural hybridity championed by Enwonwu was shared by other influential pioneers of Nigerian modernism who were similarly responding to figurative Western traditions including Aina Onabolu (1881-1963) and Akinola Lasekan (1916-1974).Portraiture occupies a significant place in Enwonwu's oeuvre. He developed a signature stylistic approach to the human form as evidenced by the acclaimed portraits of women he created contemporaneously to My Mama at 80 in the early 1970s. Tutu (1974), Christine (1971), and Portrait of Marianne (1972) all feature women with elongated features. Such stylisation was understood by Enwonwu to physicalize the impetus he observed in postcolonial Nigerian society for growth 'in politics, in trade, in art, in every aspect of life' following the country's independence in 1960 (Enwonwu quoted in S. Nkwagu).Enwonwu's portrait of his mother consequently stands as a striking point of distinction. He does not employ his typical stylised elongation of the body, but rather depicts her faithfully with realist proportions to express the intimacy of their relationship. The work therefore stands as a testament to the importance of his mother's role throughout his life, while simultaneously offering a powerful example of the artist's contribution to the emergent aesthetics of a transnational Nigerian modernism.We are grateful to Osa Dahlton Ozigbo-Esere for their assistance researching Òtù Ọdụ title regalia. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)Solomon Nkwagu, 'Ben Enwonwu', Yemisi Shyllon Museum of Art and Google Arts & Culture, online.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 31
Alexis Preller (South African, 1911-1975)Mapogga Women with a Child signed and dated 'Preller '53' (lower right)oil on canvas51 x 40.8cm (20 1/16 x 16 1/16in).Footnotes:ProvenanceAcquired directly from the artist;By direct descent to the present owners.Created in 1953, Mapogga Women with a Child was painted at the height of South African artist Alexis Preller's engagement with the 'Mapogga' theme. He had first encountered the people he called the 'Mapogga' (a term devised by the Boer settlers to name the Ndzundza group of the Southern Ndebele people) in 1935 on a sketching trip north of Pretoria. He came across a group of Ndebele women working in the fields and followed them to their village. Enraptured by the indigenous dress of the women, Preller embarked upon a career-long artistic project to capture his perception of the 'Mapogga' culture.In his treatment of the theme, Preller was not motivated to produce anthropological studies of the indigenous communities he encountered in South Africa. Crucially, his depictions of the Ndebele women (who served as his greatest source of inspiration) were rather shaped by his desire to formulate an iconic symbol of the essence of Africa – a distinctly modernist enterprise out of step with contemporary attitudes. His female figures are consequently highly stylised with elongated limbs, high-set breasts, and small ovoid heads. In the present work, the arms, necks, and ankles of the women are encircled with the rings typically worn by the Ndebele and their clothing is reimagined as geometric forms that enshroud the figures. Through a process of formal simplification, Preller transforms the matriarchs into icons 'through which I can convey what Africa means to me' (Preller quoted in Esmé Berman and Karel Nel, 2009a: p. 146).Preller conceived of his depiction of the 'Mapogga' people in relation to both his own situated experience and the avant-garde in Western art history. He described his painterly project as a means 'to identify myself with my age and place: Africa and the Twentieth Century' (Preller quoted in Esmé Berman and Karel Nel, 2009b: p. ix). The artist had left for England in 1934 where he studied for a year at the Westminster School of Art. In 1937 he continued his studies at the Académie de la Grande Chaumière in Paris. Here, he engaged with the paintings of French Post-Impressionists including Paul Gaugin and Vincent van Gogh, along with the work of twentieth-century modernists including Picasso whose paintings dominated the city's galleries in the 1930s. The stylisation of the figures in Preller's 'Mapogga' works resound with references to this European modernism along with the surrealist aesthetic of the Italian artist, Giorgio de Chirico. While the first work on the 'Mapogga' theme was exhibited in 1936, the present work marks Preller's particular interest in the Ndebele women which he began to pursue with renewed vigour in the early 1950s. The compositional arrangement of the figures evidences the influence of the artist's trip to Italy made in 1953, the same year in which the current work was created. The central figure holds a child with one arm, emulating Western art historical imagery of Mary with the baby Jesus. Preller fuses his mythologising of the Ndebele people with the iconography of Christianity to present a reimagining of the mother with child in his distinctive painterly style. BibliographyEsmé Berman and Karel Nel, A Visual Biography. Alexis Preller: Africa, the Sun and Shadows (Saxonwold, Johannesburg, 2009a)Esmé Berman and Karel Nel, A Visual Biography. Alexis Preller: Collected Images (Saxonwold, Johannesburg, 2009b).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 32
Alexis Preller (South African, 1911-1975)Mapogga Wall signed and dated 'Preller '53' (lower right)oil on board25 x 30.7cm (9 13/16 x 12 1/16in).Footnotes:ProvenanceAcquired directly from the artist;By direct descent to the present owners.The present work illustrates a scene of daily life in a 'Mapogga' village or kraal. Painted in 1953, Alexis Preller illustrates a stylised female figure in traditional dress in front of a façade painted with the distinctive patterns of the Ndebele. From his first encounter with the Ndebele or 'Mapogga' people settled north of Pretoria, Preller strove to represent the indigenous community's rich cultural identity within his practice. The wall paintings of the Ndebele, illustrated here, are a recurring feature in his career-long preoccupation with the 'Mapogga' theme. Preller understood the wall paintings to be of great cultural significance to South African art. Reflecting on the exclusion of indigenous artistic practices in the Overseas Exhibition of South African Art in 1950, he commented, 'I hope future exhibitions will include such purely South African art as the beadwork of the Zulus and the Swazis, and the paintings done by the Mapogga women. Each year the Mapogga women paint their walls after the rains and the previous designs are lost through lack of documentation. Does any other country let its murals disappear through sheer lack of interest?' (Preller quoted in Esmé Berman and Karel Nel, 2009: p. 142).In his critique of the exhibition, Preller asserts the vital role of the Ndebele women as the custodians of their community's artistic tradition which he celebrates through the subject matter of the present work. BibliographyEsmé Berman and Karel Nel, A Visual Biography. Alexis Preller: Africa, the Sun and Shadows (Saxonwold, Johannesburg, 2009).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 108
RICHARD VAN BLEECK (Holland, 1670-1733); circa 1712."Esther Faints before Ahasuerus".Oil on canvas.Retains its original canvas.Signed on the back.Measurements: 46 x 55 cm; 65,5 x 75 cm (frame).The author of this canvas has chosen the most dramatic moment of the biblical story that narrates the life of Esther. In the centre of the scene, a group of people are holding a young woman who is fading away. This is Esther, who appears to be losing consciousness, captured by the artist in a realistic and somewhat scenographic manner, as the young woman's eyes are narrowed, one of her knees is bent in an attempt to support her own weight, her arms are open and drooping, and her extreme whiteness contrasts with the rest of the figures in the scene, indicating the degree of Esther's weakness before the king. Ahasuerus is holding Esther in a foreshortened pose that shows the momentariness of the image, as it seems that he has just risen from his throne with the intention of preventing the young woman from fading away. On the other side, assisting and supporting the sitter, are two women, one standing, wearing an elegant dress and a bejewelled headdress, and the other crouching down, holding part of Esther's dress. The group is completed by a figure in the left corner of the composition, standing at a distance from the group. His clothing suggests that he is a person of religious rank, as if he were the king's adviser, as his position is close to the throne. One of the most notable characteristics of this figure is that he is the only one who looks away from the events that are happening to Esther and turns his eyes towards the viewer, establishing a connection with him and making him a participant in the contemplation of the religious event, although not in an accomplice but in an authoritative manner, as he raises his face and points towards the scene with one of his hands, while with the other he holds a parchment. The work is set in an interior that follows classical canons, centred on perspective and depth, with the usual red curtain and the space open in the background to the landscape through an opening. The scene of the painting presents a narrative from the Book of Esther, which is part of the Old Testament. The painting depicts Esther, the Jewish wife of King Ahasuerus, sometimes referred to as Xerxes in modern texts. After the king ordered the execution of all the Jewish people in the Persian Empire, Esther went to him, without being summoned, to beg him to spare her people. This broke court etiquette and Esther risked death in doing so. She ended up fainting before the king, which led to a change in the king's decision, allowing the Jews to defend themselves from his attack, preventing them from being killed.Richard van Bleeck (1670-1733) was a Dutch painter of the Golden Age. He was born in The Hague. According to the Netherlands Institute of Art History, he was a pupil of Theodor van der Schuer and Daniel Haringh.S e became a portraitist and painted the portrait of the engraver Coenraet Roepel, before moving to London in 1733, where he remained. He was the father of Pieter van Bleeck, who was born in The Hague, possibly moved with him to London, where he also became a portraitist.
Lot 17
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Portrait of a lady, standing full-length, in a cream dress, resting her right hand on a chairindistinctly signed (lower left); inscribed 'J. J. Shannon Esq. R.A. /Holland Pk. Rd.)' (on artist's label affixed stretcher verso) oil on canvas 218.5 x 124.5cm (86 x 49in).Footnotes:ProvenanceAnon. sale, Christie's, London, 13 January 2000, lot 197.Private collection, UK.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 126
DINH VAN FOR CARTIER: DRESS RING, CIRCA 1965Designed as two asymmetrical columns, signed Cartier, Dinh Van, ring size approx I (leading edge)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 129
RED CERAMIC DRESS RING, CIRCA 1970Of geometric design, set with red ceramic sculptural forms within a textured mount, ring size approx. H (leading edge)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 146
DIAMOND DRESS RING, CIRCA 1970; RUBY AND DIAMOND DRESS RING1st: The openwork abstract plaque set with old brilliant and single-cut diamonds, 2nd: Of scrolling openwork design, set with circular-cut rubies and brilliant-cut diamonds, ring sizes approx. I½ and M (2)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 150
PINK TOURMALINE AND DIAMOND-SET DRESS RING, CIRCA 1970The carved pink tourmaline enclosed within an abstract mount, accented with brilliant-cut diamonds, ring size approx. I (sizing beads)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 157
THREE DRESS RINGS, CIRCA 19701st: The abstract openwork mount, set with amethyst, green tourmaline and accented by brilliant-cut diamonds, mounted in 18 carat gold, 2nd: Of reeded, asymmetrical design, 3rd: The front of bifurcated circular design, on a polished band, 1st: London hallmark, 1972, ring size approx.: 1st L½, 2nd M, 3rd J (3)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 161
THREE ENAMEL AND GEM-SET DRESS RINGS; KUTCHINSKY: ENAMEL RING; CAVELTI: DIAMOND-SET RING; ARTHUR KING: CULTURED PEARL RING, CIRCA 19701st: Set with a blue tourmaline pebble, within a textured mount and a brilliant-cut diamond accent, 2nd: Set with a geode crystal within an openwork circular-disc mount, 3rd: Designed as openwork textured discs, decorated with blue and green enamel, 4th: Of openwork bombé design, decorated with blue and green enamel, 5th: Of geometric design, set with brilliant-cut diamonds, 6th: Set with a baroque-shaped cultured of grey tint, within a textured mount, 4th: maker's mark Kld, partial London hallmark, 5th: signed Cavelti, 6th: signed KING, ring sizes approx. N½-F (6)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 164
TWO OPAL DRESS RINGS1st: The carved opal, within an abstract mount, 2nd: The opal cabochon accented by brilliant-cut diamonds, ring sizes approx. P (leading edge) and M½ (2)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 169
BULGARI: MOTHER-OF-PEARL RING, 1993; PREZIOSISMI: DIAMOND-SET DRESS RING; ONYX AND DIAMOND RING1st: Of 18 carat gold bicoloured and geometric design, the front inset with a mother of pearl plaque, 2nd: The wide open band, accented with brilliant-cut diamonds, 3rd: The onyx plaque accented to each corner with brilliant-cut diamonds, 1st: signed Bulgari, London import mark, 2nd: signed Preziosismi, ring sizes approx.: 1st K, 2nd M½, 3rd P (3)Footnotes:Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 177
COLOURED DIAMOND AND DIAMOND DRESS RINGOf bombé design, set with brilliant-cut yellow diamonds and brilliant-cut diamonds, diamonds untested for natural origin, diamonds approx. 4.20cts total, French assay mark, ring size approx. M (sizing spring)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
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