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Lot 1459
R ThomsonA bowl of primroses, signed and dated 1908, oil on canvas, 21.5 X 31.5cm.Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.Condition report: There is cracking and flaking to the oil mostly in the background on the left hand side.
Lot 560
A collection of four watercolours depicting marine scenes; to include, R S Mayer (British exh.1911-1930), A Day's Sailing, signed (lower left) watercolour on paper, 27 x 37cm; George Lothian Hall (British, 1825-1888), Fishermen by an outcrop, signed and dated 1850 (lower right), watercolour on paper, 32 x 52cm; George Henry Alan Brown (b. 1862-?), Boys swimming in a rock pool, signed (lower left), watercolour on paper, 29 x 38cm; A fort off the coast, watercolour on paper, 18 x 26cm (4)
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 526
Ackermann (R., publisher). A collection of cloth and paper sample plates, published Ackermann's Repository of Arts, 1809-1815, a collection of 49 plates, each with several mounted samples, mostly of cloth, but some of paper, including some duplicates, some toning and marks, some edges trimmed, sheet size approximately 24 x 14.5cm (9.5 x 5.75ins) Qty: (49)
Lot 550
Dresses. Two dresses worn by the wife and daughter of Sir Barnes Neville Wallis at The Dam Busters premiere, 1955, the first worn by Barnes' wife Mary Frances Wallis (1904-1986), comprising a full-length evening gown of pale grey satin by Debenham & Freebody, London (woven label present), with lined fitted bodice featuring pleated sweetheart neckline, wide shoulder straps, flared skirt loosely pleated at rear, and stiff underskirt of vilene, front of bodice and skirt heavily beaded with flower sprays composed of lilac seed beads, silver bugle beads, and purple sequins, 2 additional sprays on back of skirt, zip closure at rear, occasional light marks, bust 82cm (32ins), waist 70cm (27.5ins), length from top of straps to hem 141cm (55.5ins), the second worn by Mary Eyre Stopes-Roe née Wallis (1927-2019), comprising a hand-made strapless evening gown of bottle green taffeta, with lined fitted and boned bodice featuring ruched pale green organza over gold fabric, v-shaped waist, loosely pleated skirt, and gold piping between skirt panels, zip closure at rear, bust 69cm (27ins), waist 63cm (25ins), length 127cm (50ins), together with a scrap of paper annotated in pencil 'Dresses worn by MFW & MEW at Dambuster premiere', the 'W' of 'MEW' crossed through and replaced with 'S-R' together with the date '1955' in another handQty: (2)Footnote: Provenance: From the families of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979) by direct family descent.Two 1950s evening gowns, worn by the wife and daughter of renowned scientist and engineer Sir Barnes Neville Wallis to the premiere of the famous film, The Dam Busters, which immortalised Wallis's invention of the bouncing bomb used by the Royal Air Force in Operation Chastise to attack the dams of the Ruhr Valley during the Second World War.
Lot 593
Scarves. A collection of scarves by Liberty of London & Jacqmar, 20th century, 18 Liberty scarves, mostly silk, although one of wool, some with hand-rolled hems, all with Liberty stamp and/or label, including floral, paisley, figurative, Chinese motifs, geometric, Art Nouveau-style, and 4 Jacqmar scarves, including a pink silk stole with 2 large silver feathers woven at each end, various shapes and sizes, all in good condition, together with approximately 90 other patterned scarves printed on silk, cotton, rayon, etc., a number with hand-rolled hems, including floral and geometric designs, wheel motifs, Egyptian symbols, Rennie Mackintosh-style roses, compass patterns, etc., many named, including Zandra Rhodes, Timney Fowler, Christian Lacroix for Avon, Jaeger, R. Mantero for Cresta, Mondi, Georgina von Etzdorf, Marine Olivier, Diane von Furstenberg, Emilio Como, Bill Blass, Paul Parel, Deborah Brill, Mila Schön, and Jill France, various shapes and sizes, mostly in very good condition, together with 7 books related, including a shrink-wrapped copy of The Hermès Scarf by Nadine Coleno, and Scarves by Nicky Albrechtsen & Fola Solanke Qty: (approximately 100)Footnote: Provenance: Residual items from the estate of Brenda Barnard, owner of 'The Siddons Scarf Collection' which was donated to Leicestershire County Museum Service.
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 33
A STAR SET DIAMOND ROSE GOLD SIGNET RING The ring with grooved shoulders and shank marked for Birmingham 1926, maker H.C. & S, ring size R, weight 4.6g. Condition Report : Good for age, with mild scratches to gold, typical of age and usage, diamond 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 134
A BLUE GLASS 'MALLOW' SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid sides rising from a short spreading foot to a cylindrical neck. The bottle is finely carved on each main side with a large mallow blossom with curled edges, flanked on the sides by mask-and-ring handles, with a band of pendent palm blades to the neck and a band of lotus lappets above the foot. The transparent glass is of a vibrant dark-blue tone and shows neatly incised and wheel cut details. Finely incised four-character seal mark Qianlong yuzhi in horizontal script to the base and of the period.Provenance: Property from the Halim Time & Glass Museum, Evanston, Illinois. The Halim Time and Glass Museum opened its doors in 2017, showcasing over 1170 works of glass and time pieces. The museum, founded by Cameel and Hoda Halim, also displays its unique collection of works of art by Louis Comfort Tiffany.Condition: Excellent condition with minor old wear and tiny manufacturing imperfections. Note that the incised mark to base is slightly off balance.Stopper: Carved pink glass in imitation of rose quartz, mother-of-pearl platelet, possibly matching and from the Imperial glass workshops as well. Weight: 50.8 g Dimensions: Height incl. stopper 68 mm. Diameter neck 17 mm and mouth 9 mm.This bottle depicts the mallow which is associated with the successful scholar. Its Chinese name gui is also a homophone on the word gui for "honor". As such, the mallow flower is depicted on a variety of Imperial bottles made from different materials.Literature comparison: A number of bottles with this design are known, including several in different colors of glass in the Marian Mayer Collection, illustrated by R. Hall, Chinese Snuff Bottles II, London, 1989, nos. 86-90 and 93; one illustrated by H. Hui et. al., Hidden Treasures of the Dragon, Hong Kong, 1991, p. 61, fig. 111; another illustrated by Robert Kleiner, A Miniature Art from the Collection of Mary and George Bloch, Hong Kong, 1991, no. 95; and a white glass example in the collection of Denis Low illustrated by R. Kleiner, Treasures from the Sanctum of Enlightened Respect, Singapore, 1999, p. 101, no. 83.Auction result comparison: Compare a related 'mallow' snuff bottle, carved from golden glass, at Christie's Hong Kong in Important Chinese Snuff Bottles from a Distinguished American Collection on 7 October 2014, lot 13, sold for HKD 118,750 and another in golden-yellow overlay glass at Christie's New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V on 13 September 2017, lot 345, sold for USD 15,000. 乾隆款及年代藍料葵紋輔耳鼻烟壺 Description: 中國1736-1795年。直頸，橢圓形側面，短圈足。 瓶身兩側精雕細刻各一朵大錦葵花，邊緣捲曲，兩側為輔耳和環柄，頸部蕉葉紋，足部上方有蓮紋。 透明玻璃呈充滿活力的深藍色調，邊沿和細節十分精美整齊。圈足内四字"乾隆御製"款。 來源：美國伊利伊諾州伊凡斯頓Halim Time & Glass Museum美術館收藏。Halim Time & Glass Museum 美術館2017年開放，展示了1170多件玻璃及時計藝術品。這個美術館由Cameel 及 Hoda Halim創立，同時也展出Louis Comfort Tiffany 的作品。 品相：狀況極好，有輕微的磨損和微小的製造瑕疵。 請注意，底部的款稍微不平衡。 壺蓋：粉紅玻璃，貝母蓋托，可能來自御用工坊 重量：50.8 克 尺寸：含蓋高 68 毫米；頸部直徑 17 毫米與嘴部 9 毫米 拍賣結果比較：比較一件相似的金色葵紋琉璃鼻烟壺，見香港佳士得Important Chinese Snuff Bottles from a Distinguished American Collection 2014年10月7日 lot 13, 售價HKD 118,750；另一件 金黃色套料鼻烟壺見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V 2017年9月 13日lot 345, 售價USD 15,000。
Lot 320
AN INDIAN MINIATURE PAINTING OF RAMA AND SITA ENTHRONEDJaipur, mid-19th century. Gilt, watercolor, and black ink on paper. Blue and red borders. Depicting the couple each holding a lotus flower and seated on a terrace while Hanuman is kneeling before them, and Garuda on the right.Provenance: From the estate of William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), who were noted collectors and longtime donors to the Asian Department at The Metropolitan Museum of Art in New York.Condition: Very good condition. The painting with some creasing, staining, loss to the gilt, and possibly minuscule touchups.Dimensions: Image size 29 x 24 cm, Size incl. frame 45.8 x 38.8 cmMatted and framed behind glass.Auction result comparison: Compare a related painting depicting the enthroned Rama with Sita, Hanuman and Garuda, dated to the 18th century, at Christie's London in Garden of Epics - A Private Collection of Indian Paintings on 10 June 2013, lot 38, sold for GBP 10,000.
Lot 172
A SMALL GE-TYPE WASHER, MING DYNASTYChina, 1368-1644. Of shallow square form, the washer is covered in a thick grayish-cream glaze suffused with a network of 'iron' crackle interspersed with light brown crackles.Provenance: Old central European private collection and thence by descent within the same family to the present owner.Condition: Good original condition with extensive glaze staining and wear, some firing irregularities, including glaze pits and recesses as well as six evenly spaced spur marks (not to be confused with pits), and wear especially to the corners, the rim with a minuscule chip.Weight: 198.9 gDimensions: Width 8.8 cm, Height 3.6 cmGe ware, along with Guan, Ru, Ding and Jun, comprise the 'Five Great Wares of the Song Dynasty'. The problems of distinguishing the two crackled wares, Guan, and Ge, were discussed at length during a conference held at the Shanghai Museum in 1992, and while no unanimity of opinion was reached, it was generally thought that those wares with a jinsi tiexian ('gold thread and iron wire') crackle should be designated Ge. See R. Scott, "Guan or Ge Ware?", Oriental Art, Summer 1993, pp. 12-23.Recent archaeological researchers suggest that Ge wares may have been made at kilns in Chuzhou, nearer to the center of Longquan production, or just outside the walls of the Southern Song palace at Hangzhou. Scholars agree that Ge wares display the qualities that might be expected of vessels intended for imperial appreciation.Literature comparison: A related washer, but of circular shape and dated to the Yuan dynasty, 14th century, is in the Qing Court Collection and is published in the National Palace Museum, Precious as the Morning Star: 12th-14th Century Celadons in the Qing Court Collection, p. 275, no. IV-34.Auction result comparison: Compare a near-identical Ge-type washer, also dated to the Ming dynasty, of identical form and size, and with a two-color crackle, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2018, lot 717, sold for USD 21,250. Compare also a small Ge-type octagonal bowl dated to the 18th century, of closely related size and also with a two-color crackle, at Bonhams London in Asian Art on 10 May 2021, lot 76, sold for GBP 287,750. 明代哥窯小筆洗中國，1368-1644年。淺方形，通體厚厚的米色釉，上面覆蓋著一層散佈著淺棕色開片。 來源：中歐私人收藏，在同一家族保存直至現任藏家。品相：良好的原始狀態，有大量釉色污染和磨損，一些燒製不規則，包括釉坑和凹坑以及六個均勻分佈的釘痕（不要與坑混淆），角落磨損，邊緣有微小的碎片。 重量：198.9 克 尺寸：寬8.8 厘米, 高3.6 厘米 拍賣結果比較：幾乎一模一樣的哥窯筆洗，同樣為明代，于紐約佳士得Fine Chinese Ceramics and Works of Art 2018年3月23日lot 717, 售價USD 21,250. 另一件稍小十八世紀的哥窯碗，見倫敦邦翰思Asian Art 2021年5月10日 lot 76, 售價GBP 287,750.
Lot 311
A MUGHAL-STYLE 'HORSE HEAD' DAGGER HILTIndia, 18th century. The handle is finely carved from pale-green aventurine, naturalistically rendered in the form of a horse's head with the ears facing back, the nostrils flared and the mouth slightly open. The intricately incised mane falls gracefully down on one side of the neck.Provenance: From a private collection in New York, USA.Condition: Good condition with old wear and minuscule nicks. The horse head with several natural fissures, some of which have developed into small hairline cracks over time. Naturally grown patina overall, the polish of a fine, silky-matt feel.Weight: 208 gDimensions: Height 13 cm, width 7 cmFitted box with the initial 'A', finely carved in high relief and openwork from white jade, dating to the first half of the 20th century. (2)Horse-head dagger hilts were first depicted in paintings of the Padshahnama (Chronicle of the King of the World), about 1635, a manuscript documenting the reign of the Mughal emperor Shah Jahan (r. 1628-58). As horses were highly prized in Mughal culture, it is not surprising that horse-head daggers were the most popular subject for zoomorphic hilts for several centuries.Expert's note: While many of these hilts are carved from Jade, Aventurine was both a highly prized and extremely rare material at the time, and a hilt carved from this fine material must consequently be regarded as rare. Also note the distinct glimmer within the translucent stone, which makes this mineral unique.Auction result comparison: Compare a Mughal 'horse head' dagger hilt, also dated to the 18th century, at Sotheby's London in Art of the Islamic World on 19th October 2016, Lot 253, bought in at an estimate of GBP 18,000-25,000.懞兀兒風格馬頭匕首柄印度，十八世紀。手柄由淡青色砂金石精雕而成，馬頭形狀，耳朵朝後，鼻孔張開，嘴巴微微張開。 鬃毛細節生動，在脖子的一側。 來源：紐約私人收藏。 品相：狀況良好，有舊磨損和微小的劃痕。馬頭有幾條天然裂痕，其中一些隨著時間的推移已經發展成細小的裂縫。包漿自然生長，細膩光潤。 重量：208克 尺寸：高13 厘米，寬7 厘米 帶首字母"A"的裝盒，鑲嵌精美雕刻的白玉，可追溯至 20 世紀上半葉。(2) 專家注釋：雖然此類劍柄中有許多是翡翠雕刻而成，但砂金石在當時既是一種極為珍貴又極為稀有的材料，因此用這種優質材料雕刻而成的劍柄非常稀有。另外，注意半透明砂金石內的獨特微光，這使得這種石料獨一無二。 拍賣結果比較: 比較一件十八世紀懞兀兒馬頭匕首柄，十八世紀，見倫敦蘇富比Art of the Islamic World 2016年10月19日 Lot 253, 估價GBP 18,000-25,000。
Lot 35
A MONUMENTAL WOOD STATUE OF GUANYIN, QING DYNASTYChina, 1644-1912. Finely carved standing, wearing a loose flowing robe falling in graceful folds to just above the bare feet, open at the chest to reveal a floral necklace, the eyes with black glass inlays, the hair swept up into a high chignon and centered with a figure of Amitabha seated on a lotus-form base. Traces of red, white and black pigments.Scientific Analysis Report: A 14C measurement report was completed by Antiques Analytics Laboratory, Germany, Dr. R. Neunteufel, on 14 December 2020, number AA 21-06102. The report states a date of 1687 - 1730 (24% probability) or 1806 - 1925 (71,4% probability). A copy of the report accompanies the lot. Provenance: From a noted private collection in Poland. Acquired ca. 1990 in the local market. Condition: The statue with losses, worm holes, remnants of pigments, natural age cracks, all as expected and commensurate with age.Dimensions: Height 158 cm (excluding the plexiglass base) Mounted to a fitted plexiglass base (2).This finely carved figure retains all of the robust power and majesty seen in figures of Tang, Song and Jin dynasty date. The folds of the drapery in the shawl, scarves and dhoti worn by this figure are reminiscent of that seen in painted wood figures of Song date, but the small, pursed mouth, the slender nose and oblique eyes, combined with the crown are more similar to those found in Ming painted sculpture.Literature comparison: Another figure of this type, dated Song dynasty, is in The National Gallery, Prague and is illustrated in Lubor Hajek and Werner Forman, A Book of Chinese Art, plate XIII. The long scarf draping over the shoulders and trailing to the base appears to be a characteristic of sculpture of the Yuan to Ming dynasty. See, for example, two large painted wood figures of bodhisattvas, each measuring 220 cm., from the Liang-sheng T'ang Collection, illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan, 2000, pp. 94-7, nos. 37 and 38. Similar treatment of the drapery can be found on a smaller figure (measuring 166 cm. high) from the same collection, illustrated ibid., p. 102-3, no. 41.Auction result comparison: Compare a related wood figure of Guanyin, at Sotheby's New York in Fine Chinese Ceramics & Works Of Art on 16 September 2014, lot 503, bough in at an estimate of USD 30,000 to 50,000. Compare also a related wood figure of Guanyin, dated 17th-18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 29 March 2006, sold for USD 66,000. 清代木雕觀音立像中國，1644-1912年。木雕觀音菩薩跣足立於石座上，菩薩面頰飽滿，眼睛鑲嵌著黑色玻璃，雙唇微啟，頭戴高冠，上原有化佛阿彌陀佛坐像。束髮高髻，餘發自兩側垂落。左右手前肢遺失。菩薩肩覆披帛，頸飾精緻華美佩飾。雕像表面依然多處可見白色、紅色以及黑色殘彩。科學檢測報告: 一份碳14定年檢測，2020年12月14日，德國古玩檢測實驗室Dr. R. Neunteufel，編號 AA 21-06102. 檢測結果認爲時間約爲 1687 - 1730 (24% 可能性) 或1806 - 1925 (71,4% 可能性)，隨附檢測報告副本。來源：波蘭知名私人收藏，約於1990年購於當地市場。 品相：雕像有缺損、蟲洞、顏料殘留和自然年代裂縫，與年齡相稱。 尺寸： 高158 厘米 (不含底座) 有機玻璃底座 (2) 拍賣結果比較：比較相近的木雕觀音，見紐約蘇富比Fine Chinese Ceramics & Works Of Art2014年9月16日 lot 503, 估價USD 30,000 to 50,000；另一件十七至十八世紀的木雕觀音，見紐約佳士得Fine Chinese Ceramics and Works of Art 2006年3月29日 售價USD 66,000。
Lot 162
AN AMBER-GLAZED MARBLED POTTERY JAR, TANG DYNASTYChina, 618-908. Finely potted, the body formed of two sections meeting at the shoulder, the flaring sides rising from a flat foot to a rounded shoulder with a short waisted neck and everted lip. Made from rolled and flattened layers of dark and light clay, covered with a transparent amber glaze stopping unevenly above the foot, revealing the buff-brown ware.Provenance: From a private collection in New York, USA.Condition: Very good condition with some old wear and firing flaws, the base with light surface scratches and traces of use, the shoulder with a small nick and a minor glaze flake.Weight: 255.1 gDimensions: Height 9 cmMarbling, known as jiao tai in Chinese, became a popular decorative technique on ceramics of the Tang dynasty, and was applied to a number of different forms, including jars, cups, bowls, dishes and censers. Sections of marbling were also inlaid into larger items, such as pillows, for special decorative effect. The popularity of marbled wares with the Tang aristocracy was confirmed by the discovery of a small number of horses made with marbled clay among the items in the tomb of the Tang Princess Yongtai, who was given a grand reinterment in AD 706.The marbled appearance could be achieved either by combining clays of different colors when making the vessel, or by using two contrasting slips on the surface of the vessel. In either case the piece was afterwards covered with a transparent glaze. The most popular glazes were amber, as seen on the present jar, green, or colorless. It can clearly be seen that the present jar was made by mixing contrasting clays, and it can further be seen that the upper and lower sections were made separately and then luted together. This would have required considerable skill on the part of the potter, and on the present jar it was done quite successfully.Literature comparison: Compare a related and similarly glazed jar, also without a cover, found at Xianyang, Shaanxi province in 1952. The tomb from which the Xianyang jar was excavated has been dated to AD 714. The jar, now in the Shaanxi Provincial Museum, is illustrated in Zhongguo wenwu jinghua daoquan - Taoci juan, Taipei, 1993, p. 247, no. 246. Another larger marbled jar with amber glaze, also without a cover, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, no. 230.Auction result comparison: Compare a closely related amber-glazed marbled pottery jar with cover, dated to the Tang dynasty, at Christie's New York in The Falk Collection 1: Fine Chinese Ceramics & Works of Art on 16 October 2001, lot 19, sold for USD 58,750. 唐代琥珀色釉絞胎瓷罐 中國，618-908年。罐小口，豐肩，鼓腹，平足。罐身以褐、白兩色泥料揉絞出花紋。罐身至足部施琥珀色釉。 來源：美國紐約私人收藏。 品相：狀況極好，有舊時磨損和燒製瑕疵，底座有輕微的劃痕和使用痕跡，肩部有一個小刻痕和輕微的釉面剝落。 重量：255.1 克 尺寸：高9 厘米 拍賣結果：比較一件相近的唐代琥珀色釉絞胎瓷蓋罐，見紐約佳士得The Falk Collection 1: Fine Chinese Ceramics & Works of Art 2001年10月16日 lot 19, 售價USD 58,750。
Lot 51JS
Make & Model: Volvo V40 R-Design Lux D2Date of Reg: LR64 SZOColour: Bluecc: 1560MoT: 29-09-2022Fuel Type: DIESELMileage: 74kTransmission: MANUALSummary: Two registered keepers with the last keeper since March 2018. Five service stamps with the last recorded January 2021 at 70,380 milesVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=152282
Lot 39
Godwin Oluwole Omofemi (Nigerian, born 1988)Lost in Thought 1 signed and dated 'Oluwole Omofemi/ '19' (lower right); further signed, titled and dated (verso)oil and acrylic on canvas 120 x 100cm (47 1/4 x 39 3/8in).Footnotes:ProvenanceA private collection, Nigeria.Using vibrant colour to explore a deeply felt political message of self-love, Oluwole Omofemi has crafted a distinctive approach to contemporary Black portraiture. Born in Ibadan, Nigeria in 1988, Omofemi's aptitude for painting was recognised at a young age and fostered by established artists who collectively drew inspiration from the vibrant city. Through his developing body of work, he has gained a reputation for his dazzling depictions of female subjects, typically set against luminous backgrounds such as the zingy red and cool blue floral motif of the present work. Omofemi arrives at the composition of his paintings through a carefully considered process. He first determines the mood that he wishes to convey through a work and selects the corresponding colour palette and clothing of his subject. He then takes numerous photographs of a model which are narrowed down to one or two images from which he paints. Working in acrylic and oil, he introduces an imaginative element that transcends the photographic image as he stylises the figure, often exaggerating elements such as the model's hair. The realist approach taken to depict the subject are juxtaposed with the flatness of the background which, as in Lost in Thought 1, often feature flowers as a dedication to the artist's mother. While the models for the paintings are typically friends and family of the artist, Omofemi believes they accrue a spiritual quality when transferred to canvas. He understands women to be close to God as he associates the qualities traditionally associated with femininity, including love, acceptance, and forgiveness, with the Divine. As Omofemi explains, 'I don't want to just paint a picture. I want a picture that captures the soul. I want a picture that captures personality. These are the things I want people to see' (Omofemi quoted in P. Laster, 2021). Lost in Thought 1 belongs to a body of work in which Omofemi explores the politicisation of hair to assert a powerful Black subjectivity. He explains, '[i]n my paintings, I try to tell black people to accept who they are; accept their identity; accept their beauty' (Omofemi quoted in P. Laster, 2021). He looks back to the transnational Civil Rights Movement of the 1960s and 1970s when natural hair was valued as a means to eschew European styles and assert a strong Pan-African identity. In the present work, a woman is presented in profile and her oversized afro dominates the canvas. Entwined, in places, with the floral motif of the background, her hair is presented as a sign of beauty, strength, and power. Reflecting on the symbolic qualities of his subjects' hair, Omofemi notes '[a] surprising capillary effect of Black hair which fills me with awe is no matter how we comb or treat our hair, [it will] never fall down, [but will] rather stretch or rise. To me, hair is a pole or antenna which gives us the power to connect with the Divine' (Omofemi quoted in M. Mobengo, 2021).In the last two years, Omofemi's work has garnered significant critical attention. Since his debut on the secondary market in June 2020, his paintings have incited a string of record-breaking results at auction. He has received two solo exhibitions at Signature Art Gallery in London; The Way We Were (12 March - 9 April 2020) and In Our Days (1-30 September 2021). He has also exhibited work elsewhere in the UK and in Nigeria, Ghana, Italy, Belgium, and the US, asserting his place as one of the most sought-after emerging artists today.BibliographyPaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, online Murielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), 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 374
4 verschiedene historische Esslöffel, Oldenburg/Holstein, Lübeck u. Kopenhagen, 18. u. 19. Jh. Silber, Gesamtgewicht ca. 203 g; 1 x mit gerundet erweitertem Griffende und mittlerem Kantenprofil auf dem Griff; wohl Asmus I. Schramm, Lübeck, zwischen 1746 u. 1762, Doppel-Adlermarke mit nicht ganz eindeutiger Vogelmarke (?) des Silberschmiedemeisters Schramm, verso datierte gestichelte Widmung "I. H. Jappe 1816", Länge 21,6 cm; 1 x mit flachem, rautenförmig erweitert zulaufendem Griffende, volkstümlich barocke Dekorgravuren, verso auf dem Griffende Wiegenmotiv mit schlafendem Kind und Zusatz "Eija Poleya", auf dem Griff datierte Stichelwidmung "Margareta Vossen Den 23. Septbr. 1772"; Meistermarke v. Joachim Christoph Quistberg, Oldenburg/Holst., um 1770, L. 21,4 cm; 1 x spitz zulaufendes Griffende, Stichelgravur, Jasper Daniel Jansen, Oldenbg./H., um 1810/15, Widm.gravur v. 1817, monogr. "A.H.", L. 22,2 cm; 1 x mit Fadenprofil, Kopenhagen 1862, Mstr.mrke. "C. Moinichen", Beschaumarke Peter R. Hinnerup, Länge 21,8 cm; alle m. Gebrauchsspuren. Weitere Fotos auf Anfrage.
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