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Lot 7
Yannick Ackah (Côte d'Ivoire, né en 1992)Sans titre, 2021 techniques mixtes sur toilemixed media on canvas140 x 120cm.55 1/8 x 47 1/4in.Footnotes:Pour l'artiste ivoirien Yannick Ackah, né en 1992 à Yamoussoukro, l'art se manifeste dès le plus jeune âge. À deux ans seulement, il commence à peindre et à dessiner les premiers croquis de son environnement, systématiquement en quête de sujets et d'inspiration. Si ses premiers pas artistiques se font dans la calligraphie et la peinture murale, qu'il exerce lors de ses études à l'Université d'art d'Abidjan, son intérêt pour les beaux-arts ne cesse de se développer. Happé par la peinture, cet élève de Yéanzi termine ses études à l'École supérieure des arts plastiques, de l'architecture et du design d'Abidjan en 2020. Depuis, il expose à l'international et ses oeuvres font partie de prestigieuses collections privées à Paris, en Allemagne et aux Etats-Unis. Le travail d'Ackah est empreint de métaphores et d'oppositions qui révèlent ce qu'il nomme « la poésie de l'existence ». On y reconnaît la dialectique de la vie et de la mort, les abîmes mentaux et le jeu rêveur, le jour et la nuit. Des thèmes sociopolitiques tels que le racisme et les profondes blessures du colonialisme se retrouvent également dans ses œuvres, parsemées de références à l'emprisonnement et à la douleur. Assumant des similitudes stylistiques à Guernica, Yannick Ackah choisit délibérément de s'inspirer des enseignements artistiques de Picasso, renvoyant à l'utilisation de masques et à la culture africaine.Ackah lui-même décrit sa relation à celle-ci comme un mystère : 'Ce que je vois dans les sculptures africaines, c'est la beauté, un défi, une histoire complète, un grand mystère que j'essaie de résoudre à travers mon travail avec des lignes, des coups de pinceau et aussi avec la couleur.' (Ackah, 2021)For the Ivorian artist Yannick Ackah, his passionate relationship with art became apparent at a very young age. At only two years old, he began to paint pictures incessantly, and drew his first sketches of his surroundings. While his first artistic steps were in calligraphy and mural painting, studies which he completed at the University of Art in Abidjan, his interest in the fine arts continued to develop over time, so that he eventually added a degree in painting. As a student of the artist Yeanzi, he graduated from the École Superieur of Fine Arts, Architecture and Design in Abidjan, Ivory Coast in 2020. Looking at Ackah's work, one often recognises a play of opposites: The dialectic between life and death, mental abysses and dreamy playfulness, day and night, in short 'the poetry of an existence', as the young artist himself puts it. But his own identity and the society in which he lives also play an undeniable role for Ackah. Socio-political themes such as racism and the deep wounds of colonialism are also investigated in his oeuvre.Ackah draws inspiration for his compositions from African sculptures and masks. The stylistic artistic reference to Picasso's figurative work is deliberately made, as the artist understands Picasso's source of inspiration to also lead back to African culture. Ackah asserts the significance of this African art historical context to his practice:'What I see in African sculptures is beauty, a challenge, a complete story, a great mystery that I try to solve through my work with lines, brushstrokes and also with colour.' (Ackah, 2021)For further information on this lot please visit Bonhams.com
Lot 2514
1920's silver cased timepiece, of plain rectangular form with bevel edged front, canted base and shaped handle, the 2 inch ivory dial with black hand painted Arabic numerals and minute markers, inscribed Grant & Son Carlisle, with French timepiece movement with platform lever escapement with oval coil balance and timing screws, the case hallmarked William Comyns & Sons Ltd, London 1921, not including handle H11.5cmCondition Report:Case with general light wear, including surface scratches, nicks and a few small indentations.Hallmarks clear and legible.
Lot 2537
Late Victorian ivory handled fish servers with silver blade and prongs, hallmarked James Deakin & Sons, Sheffield 1897, contained within a fitted case with burgundy silk and velvet lined interior Condition Report:Silver blade and prongs with surface scratches.Hallmarks clear and legible.Ivory handles with scratches, a few cracks and a few marks.Case with some general wear to exterior, and to velvet lining of interior where servers have sat.
Lot 20
A 19th Century Chinese Canton Cantonese hand carved ivory dragon panel on stand. The long panel being intricately carved with multiple Imperial dragons chasing flaming pearls. The central dragon facing forward and all the dragons being set with black eyes. Raised on a carved and pierced socle base. Measures approx; 33cm long.
Lot 2111
Victorian 9ct gold cameo brooch, silver bangle by Charles Horner, Chester 1921, two Victorian silver brooches, 18ct gold vegetable ivory pendant, 15ct gold seed pendant, gold-plated and silver jewelleryCondition Report:Cameo approx 20.4gm tested 9ct, cracks to shell cameo, dimensions = 58mm x 50mm, nut and vegetable ivory pins running through not gold just the finials
Lot 230
Andrew Robertson M.A (1777-1845), an early 19th century portrait miniature on ivory of a young gentleman in Regency dress, initialled 'AR' and dated '6', in a gold frame that tests as 14ct or higher, the reverse with locks of hair tied with seed pearls and gold wire on an opalescent ground, surrounded by purple glass, 7.5x6.5cm
Lot 517
A 19TH CENTURY NAVAL DIRK AND SCABBARD. With a 36cm tapering double edged blade with central fuller, the cross bar with twin forward facing quillons and beaded guard, with a reeded ivory grip with gilt mount with Queen's Crown and fouled anchor, with cushion shaped pommel, the leather and brass mounted scabbard with twin ring suspension points and engraved fouled anchor, with later sword knot. 52cm overall.
Lot 686
A FINE VICTORIAN PORTRAIT MINIATURE OF COLONEL HENRY HUME OF THE 95TH, HERO OF CRIMEA.An oval portrait miniature on ivory, English School c1860, of an officer in dress uniform, looking to his right with gloves in one hand and cane in another. A black mourning band on his left arm and wearing a group of five medals which comprise the Order of the Bath, Crimea Medal with two clasps, Legion D’Honeur, Turkish Order of the Medjidieh and Turkish Crimea Medal. In leather outer case, a paper label to the reverse of the miniature ‘Colonel Henry Hume’. 12cm x 8.5cm.With a letter ‘My Dear Colonel’ dated 2nd Jan 1857 from De Lacy Evans and ‘My Dear Colonel Lewis’ dated 15 June 1860, and an Order ‘Head Quarters Before Sebastopol’.Henry Hume had a long and distinguished military career being wounded at Alma and Inkermann, being recommended for the Victoria Cross and receiving the honour of being presented with his Crimea Medal by Queen Victoria. It seems that Henry Hume was born on the 23rd January 1816, he joined the Army at the age of 19 years and three months. His rise through the ranks was impressive, Ensign from 9/5/1835, Lieutenant 1/12/1837, Captain from 19/1/1844, Major from 24/12/1852, Temporary Lt. Colonel from 12/12/1854 and Lieutenant Colonel from 9/3/1855 serving with the 95th Nottingham and Derby Regiment of Foot and later the Grenadier Guards.He fought gallantly during the Crimean War 1853-6 being twice wounded, dangerously at the battle of Inkermann when he was shot through the thigh and slightly at the battle of Alma, suggesting that the clasps visible were a well deserved reward for Alma and Inkermann, however records suggest he was also entitled to a clasp for Sebastopol. Wylly in his history of the 95th at Crimea records many details about Hume, most notably at the Battle of Alma ‘No supports were immediately at hand, and the moment was critical. Major Hume, who was on foot, his horse having been shot, seized the regimental Colour from the shattered hand of Ensign Bazalgette… the remaining men rallied to the Colour’. Hume had two horses shot from under him during the campaign, this horse being ‘Charlie’.This act of bravery was rewarded with a mention in the Lieutenant-General’s report of Officers whose gallant conduct had been brought to his attention following the battle: ‘Major H. Hume, after crossing the river, had a horse shot under him, headed the attack on the Russian main outwork and carried the Regimental Colour for some time during the hardiest part of the struggle’. It seems that Hume had also been shot at the time when he seized the Colours. It was also for this act that Major Hume was ‘recommended by Sir de Lacy Evans for the Victoria Cross’.The 2/95th suffered many casualties during the action and by the end of the battle they were reduced to ten officers and 433 non-commissioned Officers and men fit for duty. The losses were such that it was said that ‘There may be few of the 95th left but those few are hard as nails’. Lt Colonel Hume had the great honour of being awarded his Crimea Medal ‘from the hands of the Queen at Horse Guards, London on the 26th May 1855. Records further confirm his entitlement to the Legion D’Honneur 5th Class, Companion of the Bath and Order of Medjidieh 4th Class.Henry Hume transferred to the Grenadier Guards in April of 1858. As Her Majesty the Queen was Colonel in Chief of the Kidderminster Grenadier Guards it seems likely that the black arm band worn in this portrait is in remembrance of Prince Albert who died in December 1861 suggesting that this portrait was painted either in December 1861 or some point in 1862.Henry Hume received a commission from Thomas Henry Foley, Baron Foley of Kidderminster etc to the rank of Colonel to be one of Her Majesty’s Guard of the Honorable Corps of Gentleman at Arms on the 1st of December 1862.The promotion might well have promoted the painting of this miniature. The letter from 1857 signed by De Lacy Evans explains that he has recommended the Colonel for the VC ‘In an official report of the General Co.The Second Division of Lord Raglan (now Lt Colonel) Hume was referred to - Major Hume of the 95th Regt, Seized a Colour and led over the Bridge… this occurred at the Battle of Alma. The Officers previously bearing the Standard had been struck down by the Enemy’s Fire. It was a highly meritorious act of Valour at an opportune moment, decidedly useful in maintaining the successful advance of the Regiment against the enemy’.The letter of 1860 appears to be written by Hume explaining his part in carrying the colours whilst leading the Left Wing of the Regiment over the river whilst under deadly fire from the enemy ‘my horse was here killed under me - the next moment I caught sight of the Colours of my Regiment in the very act of retiring there were at that time only about ten of the 95 with them… I carried the Colour till I was hit in the right shoulder by musket balls.The Memorandum from ‘Head Quarters before Sebastopol 17th June 1855’ concerns encourages those in charge to impress upon their men the importance of ‘keeping together, and formed as a Military body after the Storm.Provenance: a distant relative of Colonel Hume.
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