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Lot 395
Three Chinese rice paper watercolours, one of a sailing vessel, imperial personage and attendants, all framed and glazed, handwritten to verso 'Peking 1935', 25.5cm x 22cm, together with several other pictures including a British floral embroidery in circular frame, a framed but unglazed 19th Century Alken print of 'Symptoms', 'of being wanted', 'of anxiety', 'of a has been' and 'of duck catching' (10)
Lot 443
Edvard Munch(Norwegian 1863-1944)NORWEGIAN LANDSCAPEetching sheet size: 10,5 by 15cm We believe that Stephan Welz & Co is the first auction house in South Africa to offer an artwork by the incomparable Edvard Munch. Munch is one of the great masters of Modernism and he is known for producing artwork that reveal and communicate inner turmoil and existential states. While Munch is known for The Scream and other stirring paintings which express the intricacies of human nature, the conflict, the confusion and the pain of existence, there is a fragility that Munch seemed better able to express through the medium of printmaking. Munch experimented with several printmaking techniques and he is credited with introducing woodblock prints to Norway. In 1902 Munch presented a body of work that presented several facets of human experience, which he called The Frieze of Life. The work brought the artist acclaim but while his career thrived, his physical and mental health deteriorated. In 1908, after several years of success, Munch began engaging in a number of activities that the artist seemed to be drawn to as a means of escapism that proved to be self-destructive. During this time the artist travelled relentlessly and drank to excess yet he has been described as experiencing chronic anxiety. Eventually the artist was committed into Dr Jaconson’s private clinic in Copenhagen for a number of months. Norwegian Landscape is an exceptional work, as it reveals the human experience at its most fragile and raw. Munch created the work in 1908, it is the first artwork that he produced after his nervous breakdown which occurred in the same year. This work is a testament to the courage of a soul, completely undone yet still compelled to put etching needle to copper plate in order to express himself. Graphologists claim that one’s handwriting can be altered directly after experiencing a trauma, this notion may be evident in this etching, the delicate lines that collectively form this etching seem tentative. Could this etching be a result of the artist testing whether his artistic abilities are still intact during a situation where those who have experienced a breakdown express a sensation of being mentally unravelled. Or, was the making of this print entirely out of a sense of compulsion, the action of creating an etching so familiar that the artist found it a comfort? In 1908 Munch sat down, very possibly in the garden at Dr Johnson’s private clinic and completed a landscape that depicts nature in its inclusion of two trees in the frground, as well as rolling hills in the background, but which still seems barren and devoid of life. The perspectival lines that depict the road or ditch, portraying an unceasing distance, such as that described by many experiencing personal anguish, the path back to normalcy seems endless. The landscape is overall stark, quiet, lonely, the black etched lines are sharp, like incisions on the paper. The composition is secluded except for the one small element of hope, a little cottage along the mid-right margin. The mere act of creating a piece of art may signal Munch’s first steps out of the mire of his breakdown. This is a work of courage. It depicts the boldness of an artist who has experienced hell and is unafraid to reveal the pain of the journey. While this print would have been a later state, it is difficult to say of which state it is a part as some catalogues refer to the work having two states, while others comment that three states were produced. The print was published by Paul Cassirer in Berlin in 1908. Source: Munchmuseet
Lot 471
Mr. Brainwash(French 1966 - )RESCUE: MONA LISA (PINK)signed; dated 2019 with the artist's thumbprint on the reversescreenprint printed in colourssheet size: 76 by 57cm, unframed Leonardo da Vinci’s portrait of the Mona Lisa (painted in 1503) is easily the most recognisable painting in the world. It remains one of the most visited artworks at the Louvre, one of these reasons is her intriguing smile, which is mentioned as an example of the uncanny in Freud’s book Leonardo da Vinci and a Memory of His Childhood. Easily the most recognisable of all of Jeff Koon’s sculptures, the artist’s ‘balloon dogs’ are actually rendered from mirror finished stainless steel. Koons’ balloon sculptures reflect mass production (2300 editions of of each colour of the balloon dog sculptures are produced in each colour) and mass consumption in a disposable culture. Koon’s artworks are created in a factory-style production house where more than 100 assistants help produce his work. Koons has asserted many times that there is no deeper meaning in his work. Despite the contrasts between Da Vinci and Koons’ work, both are considered very valuable. In 2013 Jeff Koons’ Balloon Dog (Orange) sold on auction for $58.4 million, at the time a record breaking amount for a living artist. In 2019 Mr. Brainwash produced the series of prints, Rescue: Mona Lisa in three different colour options: red, blue and pink. Each is a five colour screenprint and an edition of 70. The prints depict a spray painted image of the Mona Lisa using black paint, a Jeff Koons balloon dog on her lap. The print that we have on offer (lot 471) is printed in the pink version. Through this combination of recognisable art images, Mr.Brainwash juxtaposes a Rennaissance master with his contemporary equivalent. The title Rescue: Mona Lisa (Pink), bears no mention of Koons’ balloon dog, perhaps it is the reproduction of her image, rendered with spray paint with a medium used by street artists in the late 20th century, recontextualising Mona Lisa as a relevant image, an icon who can still hold her own and bear relevance in 2019 when the prints were first created, while a vacuous balloon dog rests in her lap. Yet the artwork itself consists of neither the Mona Lisa, nor one of Jeff Koon’s sculptures, but the artist’s representation and reimagining of images of the two simultaneously, and from a twenty-first century perspective. To Mr.Brainwash, art history is not a linear succession of art movements, all marching one behind the other in the development of what and how art is to be considered, it is rather a network, and in this era, all available, all the time, at his disposal, to be replicated and appropriated into a new art form. Source: Artdependence Encyclopedia.com Mr. Brainwash is the moniker of Thierry Guetta who became well known after the Academy Award nominated documentary about street art, Exit Through the Gift Shop, debuted at the Sundance Film Festival in 2010. There is a point in the documentary where Banksy, the focus of the documentary, turned Guetta’s camera on the graffiti artist who would then go on to find instant success on the Los Angeles art scene. Using the moniker Mr. Brainwash since his first solo show, the artist is known for his provocative art which often makes use of iconic images, which he doctors and subverts, frequently incorporating spray painting techniques, and then produces limited edition prints of the originals, thus bringing graffiti and street art into the gallery space. Mr. Brainwash has designed an album cover for Madonna, worked with the Red Hot Chilli Peppers and exhibited his art all over the world. His sudden rise to fame has led many to speculate whether Mr Brainwash is just the frontman of a long-term prank on the public orchestrated by Banksy. Source: BBC
Lot 472
Mr. Brainwash(French 1966 -)SPRAYCAN AND CATALOGUE FROM THE SOLO EXHIBITION AT THE OPERA GALLERY, LONDON 2012signed; signed on the front coverMr. Brainwash brand spraypaint can; Mr. Brainwash, Opera Gallery, 2012, soft cover, illustrated in full colourcan height: 20cm; catalogue 29,5 by 22cm, unframed (2)EXHIBITEDOpera Gallery, Mr. Brainwash, London, 2012 Lot 472 consists of a spray can and the catalogue from Mr Brainwash’s 2011 solo exhibition at the Opera Gallery in London. The spray can is made from steel and printed with an original label which includes a union jack with a crest and the words “Mr. Brainwash” in a white, cursive font. Although the spray cans the artist produces are designed after the traditional spray cans that the artist used, this can is empty and never contained any paint or gas. The artwork is printed on the can and includes directions for use, warnings that it contains flammable gas and the artwork includes drips and slashes of paint, as you would expect from a real spray can. The can that we have on offer has a blue lid. It is signed in permanent marker by Mr. Brainwash and dated 2012. While Mr Brainwash has made other spray cans, these have red and white print with the paint dripping from the nozzle, down along the can. The cans were made available in ten different colours and a special edition of gold and silver. Each colour was produced in an edition of 700.The can we have on offer is distinct from the cans described above, for the union jack print on the can and the lack of dripping paint, printed with the title of his 2008 solo show in Los Angeles, Life is Beautiful. This spray can was made for Mr. Brainwash’ solo show at the Opera Gallery. The catalogue is printed in full colour, and features the artist’s print of Queen Elizabeth II in her youth, holding one of Mr Brainwash’ spray cans that bear the Union Jack, this one features a red nozzle, which usually indicates the colour. Behind her, the symbol for anarchy has been sprayed, suggesting that it was sprayed by the young queen herself. The original work is a beautifully rendered oil on canvas painting. Apart from a brief biography, the catalogue is devoid of any essays or artist’s explanations, just full colour images allowing the work to speak for itself. Many of the images included in that exhibition reference artists who have both incorporated Pop Art and icons who have become emblems of Pop Art, included in the work Mr Brainwash produced for his first British solo exhibition. Source: Mr Brainwash Opera Gallery Mr. Brainwash is the moniker of Thierry Guetta who became well known after the Academy Award nominated documentary about street art, Exit Through the Gift Shop, debuted at the Sundance Film Festival in 2010. There is a point in the documentary where Banksy, the focus of the documentary, turned Guetta’s camera on the graffiti artist who would then go on to find instant success on the Los Angeles art scene. Using the moniker Mr. Brainwash since his first solo show, the artist is known for his provocative art which often makes use of iconic images, which he doctors and subverts, frequently incorporating spray painting techniques, and then produces limited edition prints of the originals, thus bringing graffiti and street art into the gallery space. Mr. Brainwash has designed an album cover for Madonna, worked with the Red Hot Chilli Peppers and exhibited his art all over the world. His sudden rise to fame has led many to speculate whether Mr Brainwash is just the frontman of a long-term prank on the public orchestrated by Banksy. Source: BBC
Lot 473
Banksy(British 1974 - )open edition print that the artist made available for downloaddigital print on canvas canvas size: 51 by 76cm PROVENANCE34 Fine Art, Cape TownIn 2010 Banksy was included in Time Magazine’s 100 most influential people of the world, alongside Barack Obama, Steve Jobs and Lady Gaga. The street artist, activist, filmmaker and general provocateur has, after a long career, still managed to keep his identity from the general public. He began as a graffiti artist in Bristol in the 1990s, and now commands hundreds of thousands of dollars for his original works at highly regarded auction houses. He has moved his street art inside the gallery walls and now uses the traditional methods of paint on canvas, or print editions, as well as conceptual sculpture and was even involved in filming the Academy Award nominated documentary Exit Through the Gift Shop. The artist has altered his output and intentions somewhat since his early days when spraypainting the streets left him unaccountable in many ways, to his current position as a collected artist whose work buyers view as an investment. He has even set up Pest Control, an organization that authenticates the real artwork from the countless fakes, as many try to cash in on the success of an artist whose real identity is still unknown. Other than his wit, Banksy’s style is also recognisable for his use of stencils, which he began using while he was still spray painting street walls. With this method, much of the preparation for the artworks happened at home, cutting the time it took him to paint the image in half and lessening the chance of getting caught. The artist has said that he is also drawn to the aesthetics of stencils as they have a history of use by activists and protestors. Never failing to shock and surprise, during an auction in 2018 at Sotheby’s, the moment the auctioneer announced that a popular image of Banksy’s had just sold for £1,042,000, the work began to destroy itself by what appeared to be a shredder hidden in the frame of the print. Sotheby’s denied their involvement with the destruction of the work. The Banksy work that we have on offer (lot 473) ER…, is an image of the Union Jack spray painted onto a surface, including the dripping paint that forms part of the medium’s inherent aesthetic. The artist made images of this work available for free download on his website for the duration of Queen Elizabeth II’s Diamond Jubilee. Lot 473 is one of these images that has been digitally printed on canvas and stretched onto a wooden stretcher. The severe drips of the paint give an unsettled element to the usually neat pattern of the flag, which now appears in disarray. At the centre of the flag of his country of birth, Banksy has very clearly inscribed “Er…” in large white letters. This word recalls a sound uttered when one does not know what to say, disagrees with the common consensus of a conversation, or as a demonstration of unease. With this utterance the artist expresses his feelings of embarrassment and reticence about the Queen’s Diamond Jubilee. Clearly Banksy is not a royalist. With the production and dissemination of this work Banksy returns to a more democratic form of art making, allowing far more people to access and own his artwork. For this reason it is more similar to the way that Banksy’s art operated at the beginning of his career, available for public consumption. Source: Dezeen Smithsonian
Lot 475
After Pablo Picasso(Spanish 1881-1973)signed in the plateoffset lithograph printed in colourssheet size: 53,5 by 45,5cm Pablo Picasso undoubtedly made one of the greatest impacts by an artist on art history and is widely considered one of the most respected artists of the 20th century. In 1963 the artist, a known misogynist, produced a lithograph that was surprisingly sensitive, capturing a tender moment between mother and child. Grande Maternité is a paired down print, where the simple black lines describe the voluptuousness of the maternal figure, and the plumpness of the healthy infant who is cradled in her secure arms. With minimal lines, Picasso describes a mother gazing down at her baby with love and adoration. Her body enfolds the small child to protect it, but also signal a closeness between the two. The infant is in the middle of the composition, signalling that at this moment, the child is the centre of the woman’s world. The print is almost entirely devoid of colour apart from the blue background, where the artist has chosen to direct the majority of his mark-making, a busy and noisy background of which the mother and child, content with each other, are unaware. A delicate green frond twists its way along her hair, worn as a crown of flowers, perhaps to denote femininity. The print on offer (lot 475) is a restrike of the original 200 colour lithographs that were printed in 1963 and were made after a coloured pencil drawing. It is an offset lithograph printed on Arches paper and is signed and dated in the plate. Source: Master Works Fine Art
Lot 209
A COLLECTION OF 19TH CENTURY HAND COLOURED ENGRAVINGS including after Morland 'A Tea Garden', two oval prints of medieval scenes, rural scene in a bird's eye maple frame, Leicestershire hunting scenes, other sporting prints made into place mats and an 18th Century monochrome print 'Adam naming the Creation' (19)
Lot 451
MID 20TH CENTURY SCHOOL abstract, screen print on canvas, 47.5cm x 59.5cm, unsigned Condition: marks and some foxing to the cloth surface, tear to the central canvas section approximately 2cm square, further marks, set within a plain oak frame, the frame in need of some restoration, the frame 62.5cm wide x 50.5cm high overall
Lot 206
TIM WIDDOWSON Tower Bridge and The Tower of London, 26cm x 36cm, watercolour, signed in pencil lower right together with a collection of further decorative pictures and prints including a still life of flowers by PM Owen, Poppies in a Wheat Field by Longden, French country scene by Michael Diew etc Condition: the modern watercolours generally in reasonable condition, in modern frames again in reasonable condition; the print of an old master fresco in a tatty frame
Lot 548
Peter J. Maver (b. 1936), 'Doll & Gin Bottle' - 'Doll & Benedictine Bottle', oil on board, a pair and three other items, the oils with labels verso, Florentine Galleries, Brighton, 25cm x 20cm, other items to include a print after Gerard Paraghamian, 'On the Waterfront - Vancouver', a limited edition photograph by Chris Gregory, 'Hermitage and Angel of St Petersburg, Russia', signed and numbered 2/100 and a signed print of the Flying Scotsman, 'Summerseat ELR' (5)
Lot 581
Bernard Buffet (French 1928-1999), 'Le Petit Hibou', lithograph, edition of 3000 and three contemporary prints, including Vikki Slowe (b. 1947), 'Abstract 1', signed and numbered 11/50, Cate Templeton (Scottish), 'I Should Coco', signed and numbered 1/20 and a decorative Maori-inspired print of a stylised whale (4)
Lot 599
Hunt after Herring, aquatint, 'Fores's National Sports'. 'The Start for the Memorable Derby of 1844', plate 1, London, publ. May 18th 1845 by Messrs Fores at their Sporting and Fine Print Repository and Frame Manufactory, 41 Piccadilly, corner of Sackville Street, engraved by Charles Hunt. Also lists details of horses and riders, this plate is possible a restrike, overall 73 x 122cm
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314783 item(s)/page