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Click here to subscribeAirfix - Revell - A group of vintage model kits, HMS Tiger in 1:600 scale # 03201-0, HMS Fearless in 1:600 scale # F305S, USS Hornet 20" # H-376, Bismarck # H-350 and HMS Ark Royal in 1:720 scale. They appear in Very Good condition overall, some have loose parts inside so are unchecked for completeness. (This does not constitute a guarantee) [ba-5]
Corgi - Two boxed Corgi 1:50 scale diecast model trucks. Lot consist of CC12217 Scania Crane Trailer & Load 'Marley Building Materials Ltd'; together with CC12208 Scania Flatbed Trailer & Log Load 'Van Der Wiel'. Both models have had mirrors fitted, otherwise appear to be Mint condition - the Marley truck is missing its certificate. Boxes have some general wear appearing Good on the whole. (2) (This does not constitute a guarantee) (K)
Minichamps - A boxed Minichamps #107138402 1:18 scale Rover Vitesse 3.5 V* 1986. The model in silver appears to be in Mint condition, housed within Mint inner polystyrene packaging in a Very Near Mint outer box with some minor surface wear plus small tear in one corner. (This does not constitute a guarantee) (K)
EFE - Atlas Editions - Corgi - A collection of 1:76 scale diecast model buses largely made up of unboxed EFE models. Lot includes Atl;as Editions #4655128 Hull Corporation Weymann Trolleybus; Corgi / Atlas RTW Double Deck London Transport; EFE BET Federation 'Lancashire United' and similar. Boxed models appear Mint in Fair - Good boxes, whilst unboxed models show some dusty signs of display appearing Good - Very Good generally. All items are unchecked for completeness. (This does not constitute a guarantee) (K)
Sandra Blow (British, 1925-2006) Cambridge, 1999 Silkscreen print in colours Signed and numbered 45/8547/100 Framed and glazed Measures approx. 72cm x 72cm (28.5" x 28.5") Sandra Betty Blow (14 September 1925 – 22 August 2006) was an English abstract painter and one of the pioneers of the British abstract movement of the 1950s. Blow's works are characteristically large scale, colourful abstract collages made from discarded materials. Born in London, she suffered scarlet fever as a child, spending weekends and holidays at her grandparents' fruit farm in Kent. There she spent time painting, before enrolling at Saint Martin's School of Art between 1941-1946, and then the Royal Academy Schools, 1946-1947. She later enrolled at the Accademia di Belle Arti in Rome, where she met Alberto Burri, her partner of a few years. Blow and Burri travelled in Italy together before moving to and working in Paris, and Burri became a life long influence in her work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Laser die-cut work.- Eliasson (Olafur) Your House, one of 225 copies, signed by the artist, 908 pp. illustrated by Olafur Eliasson using computer-aided laser die-cuts, original cloth, oblong folio (292 x 450 x 115 mm.), New York, Library Council of the Museum of Modern Art, 2006.*** Conceived by Olafur Eliasson as part of the Contemporary Editions series at the Museum of Modern Art, this book is one of the more exciting new achievements in book making in the 21st century. The subject is Eliasson’s house in Denmark rendered in a vertical cross section through an elaborate laser die-cut process of each page. The format of the book allows Eliasson the space to fully realise his idea on a scale of 85:1, so that each leaf corresponds to 2.2 centimeters of the actual house.Eliasson summarises the experience of viewing this book thus, “Reading a book is both a physical and a mental activity. It is like walking through a house, following the layout of the rooms with your body and mind: the movement from one room to another, or from one part of the book to another, constitutes an experiential narrative that is physical and conscious at the same time."Born of Icelandic extraction in Copenhagen, in 1967, Olafur Eliasson lives and works in Copenhagen and Berlin. His work has been exhibited in many international venues, including Tate Modern, London (2003), and the Menil Collection, Houston (2004). The San Francisco Museum of Modern Art organised a major retrospective of his work in 2007, which travelled to The Museum of Modern Art, New York, and P.S. 1 Contemporary Art Center, New York, in 2008.
ARTHUR CROFT (BRITISH, 1828-1902)A coastal fort dated '1889' (verso) watercolour 35 x 60cm Provenance The artist, thence by descent to the current ownerFootnoteArthur Croft (1828-1902) was a British watercolour artist. He was one of sixchildren of the architect John Croft. Of the children, three became artists(John, Marian and Arthur), and one (Adolphus) became an architect, and theyreceived their early training in watercolours by colouring their father’sarchitectural sketches.Besides this early apprenticeship with his father, Arthurreceived no formal training, but he gained considerable success for his oftenlarge scale watercolour landscapes, and he exhibited views of Switzerland,Algeria, America and New Zealand, as well as England and Wales, at the RoyalAcademy between 1868 and 1893. In 1883, he exhibited a watercolour thatwas among the largest ever shown there (over 8 feet or 2.5 m high). In mid-life, Arthur met and married the American heiress and businesswomanCaroline Brewer after meeting her on a painting tour of Europe, and subsequentto their marriage, he moved from his home in St. John’s Wood to New York, wherehe maintained a studio and continued to paint and exhibit. On their eventualreturn to the UK, he purchased the estate South Park in Wadhurst, East Sussex,which had been designed and built by his brother Adolphus Croft, and there hepassed the remainder of his life.Although Arthur failed to be elected to the Society of Painters in Watercolour,he was a member of the Alpine Club, London, and his paintings werepopular. After his death, they were sold by auction from South Park,fetching prices ranging from 50 to nearly 200 guineas. Arthur Croft alsohas pictures in the collections of the British Museum, The Victoria and AlbertMuseum, and Museum Wales.
ARTHUR CROFT (BRITISH, 1828-1902)A coastal fortification watercolour 29.5 x 97cm Provenance The artist, thence by descent to the current ownerFootnoteArthur Croft (1828-1902) was a British watercolour artist. He was one of sixchildren of the architect John Croft. Of the children, three became artists(John, Marian and Arthur), and one (Adolphus) became an architect, and theyreceived their early training in watercolours by colouring their father’sarchitectural sketches.Besides this early apprenticeship with his father, Arthurreceived no formal training, but he gained considerable success for his oftenlarge scale watercolour landscapes, and he exhibited views of Switzerland,Algeria, America and New Zealand, as well as England and Wales, at the RoyalAcademy between 1868 and 1893. In 1883, he exhibited a watercolour thatwas among the largest ever shown there (over 8 feet or 2.5 m high). In mid-life, Arthur met and married the American heiress and businesswomanCaroline Brewer after meeting her on a painting tour of Europe, and subsequentto their marriage, he moved from his home in St. John’s Wood to New York, wherehe maintained a studio and continued to paint and exhibit. On their eventualreturn to the UK, he purchased the estate South Park in Wadhurst, East Sussex,which had been designed and built by his brother Adolphus Croft, and there hepassed the remainder of his life.Although Arthur failed to be elected to the Society of Painters in Watercolour,he was a member of the Alpine Club, London, and his paintings werepopular. After his death, they were sold by auction from South Park,fetching prices ranging from 50 to nearly 200 guineas. Arthur Croft alsohas pictures in the collections of the British Museum, The Victoria and AlbertMuseum, and Museum Wales.
ARTHUR CROFT (BRITISH, 1828-1902)Coastal landscape with mountains watercolour 29.5 x 90cm Provenance The artist, thence by descent to the current ownerFootnoteArthur Croft (1828-1902) was a British watercolour artist. He was one of sixchildren of the architect John Croft. Of the children, three became artists(John, Marian and Arthur), and one (Adolphus) became an architect, and theyreceived their early training in watercolours by colouring their father’sarchitectural sketches.Besides this early apprenticeship with his father, Arthurreceived no formal training, but he gained considerable success for his oftenlarge scale watercolour landscapes, and he exhibited views of Switzerland,Algeria, America and New Zealand, as well as England and Wales, at the RoyalAcademy between 1868 and 1893. In 1883, he exhibited a watercolour thatwas among the largest ever shown there (over 8 feet or 2.5 m high). In mid-life, Arthur met and married the American heiress and businesswomanCaroline Brewer after meeting her on a painting tour of Europe, and subsequentto their marriage, he moved from his home in St. John’s Wood to New York, wherehe maintained a studio and continued to paint and exhibit. On their eventualreturn to the UK, he purchased the estate South Park in Wadhurst, East Sussex,which had been designed and built by his brother Adolphus Croft, and there hepassed the remainder of his life.Although Arthur failed to be elected to the Society of Painters in Watercolour,he was a member of the Alpine Club, London, and his paintings werepopular. After his death, they were sold by auction from South Park,fetching prices ranging from 50 to nearly 200 guineas. Arthur Croft alsohas pictures in the collections of the British Museum, The Victoria and AlbertMuseum, and Museum Wales.
Large Collection of Onyx Formula 1 models - 90 plus diecast models from various collections to include Indy 90, 92 and 93, F1 collection 90, 91 and 92, As well as various other models, All boxed, 1:43 scale, (2 boxes). Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.
Bespoke Ferrari 250 GTO Coffee Table by Nick Butler - Titled 'P1TSTOP'With the Ferrari 250 GTO being one of the most famous cars this GTO inspired coffee table captures the passion and combines it with a purpose. Details of this one off designer table is manufactured in exact scale and finish.Inspired by there being very few Ferrari 250 GTO made it is marked 1/34. However no more of these designer tables were made. This lot also includes the permission to create more. The moulds used to make this are included in the lot. The Designer and Manufacture Nick Butler is happy to help the potential buyer with the moulds if wanted.The body of Pit Stop is composite fibre glass with the the glass being toughened safety glass. The legs and shoes are high impact resin and the bottoms are CNC machined aerospace aluminium. The lights are vacuum cast resin and carry authentic logos. Measures approx. L115cm x H55cm x W50cm.
Large Collection of Onyx Formula 1 models - Approx. 100 diecast models, All in square Perspex cases, 1:43 scale with three larger ones (2 boxes). Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.
Michael Schumacher - Signed Ferrari F 300 F1 model from the MS Collection, 1:18 Scale, Boxed. This was won at a charity auction for the Multiple Sclerosis Society and comes with a letter of authenticity. Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.
* STEVEN CAMPBELL (SCOTTISH 1953 - 2007), BALLOONISTS COMING TO EARTH oil on paper, signed, titled and dated 1987 verso framed and under glass image size 50cm x 39cm, overall size 70cm x 60cm Note: Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation. Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the 'New Glasgow Boys'. While their artistic output was not homogenous they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century. After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale. "Young Camper Discovering Grotto in The Ground" is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells. Campbell had further solo exhibitions across the world in locations as far-reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His work is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children's book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell's surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations.
* KEN CURRIE (SCOTTISH b. 1960), THE JEW AND OTHER STORIES mixed media (charcoal, pastel, oil pastel and beeswax) on paper, signed, titled and dated 1993 versomounted, framed and under glassimage size 31cm x 23cm, overall size 57cm x 47cm Exhibition label verso: Raab Boukamel Gallery, London Note 1: A similar sized painting from this series titled “Fatherland” was in the collection of David Bowie and was sold in the Bowie sale in November 2016 (Sotheby's, London) for £35,000 (hammer).Note 2: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.Condition of the picture is good overall with no visible or known issues.
HUW WILLIAMS (AKA THE HORSE PAINTER) (b. 1968 ) STUDY FOR STALLION (MOVING FORWARD) 2022 oil on canvas, signedframedimage size 122cm x 122cm, overall size 128cm x 128cm Note: Huw Williams (The Horse Painter) is a fine artist whose work is dominated by the horse, specifically stunning, striking stallions showing their power and movement. From his Perthshire studio Huw produces works on a large scale, ranging from 5ft to 12ft, always in oil on canvas. Typically any individual piece can take from four to eight weeks to complete. His work hangs in the homes of many well-known private clients and prestigious corporate collections Worldwide. These include those of : Beverly Hills Luxury Interiors for His Majesty Hamad bin Isa Al Khalifa (King of Bahrain), Roger Myers, Cafe Rouge; Exponent, London; Mr Teo Khing, TAK Design architect to Sheikh Mohammed bin Rashid al-Maktoum.; Mr Kenneth Bordewick (Designer BHLI Los Angeles); Mr. Robert Friedland – Ivanhoe Mines (corporate); Darren Clark (Golf); Squire De Lisle (corporate); Sir Stephen Hastings; Mr. Philip Gerrard Esq (corporate) Gerrards; Mr. Raymond Andersen Green Esq (racehorses/corporate); Lloyds TSB Bank (corporate); Prudential Bank corporate); Form (Los Angeles); Mrs. Fiona Martin; Mr Clive Wells Skadden, London; The China Horse Club; The Meydan, Dubai; Lady Fiona Savory; Ms Whitney Kroenke (Walmart); Ms Chitrangda Singh (Bollywood); The Audeh Group; Le Gray, Amman; Michela Auert Design; Kathryn Levitt Design and Ms Jenny Wang (Chairman AEC). Huw Williams paintings rarely appear at auction but the last one we sold was "Peleton III" lot 520 8th November 2020 which sold for £4600 (hammer).
The African Queen - a scale model hand built model of the boat from the famous 1951 movie of the same name. Hand built and finished to a high standard, the model features a canopy to the rear, a faux steam engine to the centre and various other deck details. Made from plastic, wood and metal. Fitted with electric motors and could easily be converted to radio control. Hand built by the vendor over a period of twelve months and finished to a museum standard. On stand. Measures approx: 71cm long. The African Queen is a 1951 adventure film adapted from the 1935 novel of the same name by C. S. Forester. The film was directed by John Huston and produced by Sam Spiegel and John Woolf. The screenplay was adapted by James Agee, John Huston, John Collier and Peter Viertel. It was photographed in Technicolor by Jack Cardiff and has a music score by Allan Gray. The film stars Humphrey Bogart (who won the Academy Award for Best Actor, his only Oscar) and Katharine Hepburn with Robert Morley, Peter Bull, Walter Gotell, Richard Marner and Theodore Bikel.
Paul Henry RHA (1877-1958) The Bog (1911) Oil on canvas, 51 x 76cm (20 x30") SignedProvenance: Lancelot Studholm, acquired from 1912 London Exhibition; With Oriel Gallery, Dublin; With Hillsboro Fine Art label verso; Private Collection.Exhibited: 1911 Dublin, Leinster Hall, Paintings by Mrs Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell(AE); 1912 London, Allied Artists Association, Paintings of Co. Mayo, Ireland (Synge’s Country) by Mr and Mrs Paul Henry; 1913 Belfast, Pollock’s Gallery, Pictures by Mr and Mrs Paul Henry; 1922 Dublin, Dublin Painters Society, Exhibition of Pictures by Paul and Grace Henry; 1978 Dublin, Oriel Gallery, Paul Henry (cat. addenda no.11, as Achill, repr. in colour).Literature: Paul Henry - Paintings, Drawings, Illustrations, by S.B. Kennedy, Yale University Press, 2007, p.164, cat.no.348.S.B Kennedy locates the setting of this work as almost certainly Achill and it is described as such in Dublin 1978 exhibition catalogue. Henry visited the island for the first time in 1910 and while his initial Achill paintings focused on the people of the island community, this work, made a year later, reflects a movement towards pure landscape. He had developed his painting style in London, exploring the city on foot, often making sketches that would later become fully fledged paintings. His move to Achill would signal the shift away from the London art scene and for the rest of his career he focused on exclusively Irish scenes.An earlier example Landscape with Turf Stacks c.1910 (S.B Kennedy, p.158, cat. no.315), illustrates on a smaller scale, the workings of the same subject matter. In this present work the composition is much grander and expansive. The influence of impressionism is evident in the handling of the paint, applied in varying directions. He uses quick upright strokes for the marshy grasses of the bogland and in these areas it is thinly applied, with the grain of the canvas visible underneath. The fine lines of paint captures the linear pattern of the turf stacks, piled on top of one another. While as we move into the background there are longer and thicker brushstrokes as the hills and turf stacks become less defined.The same gleaming pool of water is seen in both works, with Henry using touches of white paint to illuminate it. It flows along deep channels dug into the ground, running through the mid-line of the composition, pooling on the left-hand side before disappearing out of view. The turf stacks are not as stark against the background as can be seen in later examples, when they are drawn in an inky black. In this instance they are more in harmony with surrounding landscape, balanced against the green and brown tones of the fields. The sky is a muted white, painted with short strokes, in varying directions, giving the impression of an overcast day, light almost breaking through the clouds.Niamh Corcoran, February 2024
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Portrait of Tonkin Jackson signed and dated 'BEN ENWONWU/ 1982' (lower left) oil on canvas 75 x 49.5cm (29 1/2 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist,A private collection.ExhibitedIkoyi, Lagos, Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures from the 1985 London Exhibition of the Royal Society of British Artists, (October 1987), no. 7.As was the routine for the sitter, every Sunday following church, she would accompany her mother Mrs Norma Jackson, Ben Enwonwu's lawyer during this period, to the artist's studio where she would sit for her portrait. Beginning this work with a preparatory Conté drawing, reportedly more true to the age of the young sitter who at the time was 9 years old, the present rendition would follow and take a year to complete. Recounting the period of her childhood that would occupy her free time, Tonkin (Ebun Jackson) remembers these visits as wishing instead to go and play with her friends. The innocence of the sitter's disregard for the monumental opportunity to be painted by such a colossal artist only contributes to the purity of the subject depicted, at the time unconscious to her hugely significant role in such an impactful work by the great Ben Enwonwu.The formal qualities of the present work are significant in the synthesised tropes of philosophy and aesthetic and fuse together Western figurative representations with Nigerian imagery into this modern aesthetic. While it is unclear why features of this painting were exaggerated, such as the age of the sitter and the aesthetic qualities of her appearance, this painting is a fantastic characterisation of Enwonwu's style. The elongated features of the neck and indeed the larger scale of the portrait, larger than would be true to life, is characteristic of Enwonwu's developed aesthetic. These qualities can also be seen, if more abstracted, in his Negritude series. It is this Negritude ideology that may hold significance within this work as Professor Sylvester Okwunodu Ogbechie says, 'Its veneration of the image of the black woman as an embodiment of African ideals coincided with his deployment of indigenous Igbo concepts of beauty and feminine power.'(p. 78). Further, while not being part of the more definitive Negritude period, this work does display the aesthetic, philosophical and political narratives of post-colonial African culture. The concept of womanhood was central to Enwonwu's characterisation of these issues.Portraiture holds a consistent and significant position in Enwonwu's oeuvre. Already in his stride as a highly acclaimed artist, given that two years prior to the works completion in 1982 he had been awarded the National Order of Merit by the Nigerian government for his work and contribution towards the arts and culture, the present work also closely followed Enwonwu's celebrated Tutu series. Strongly resonating with striking characteristics also employed in the Tutu series, the present work is formed of the soft palette and hints of green primarily in the background. Back lit, the composition of the work also holds the tendencies of Enwonwu's portraiture work, not only used in the Tutu series but also in portraits such as My Mama at 80(1973) and Christine(1971). Luminated by this back light technique, the gaze of the sitter is also emphasised and further contributes to this almost transcendent, angelic figure.A powerful example of Ben Enwonwu's developed style and contribution to transnational Nigerian modernism, Portrait of Tonkin Jackson undoubtedly stands as a testament to the importance of Enwonwu as an artist. While remaining in a private collection since the work's creation, Portrait of Tonkin Jackson has been exhibited in Enwonwu's 1985 exhibition Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures, therefore displaying its significance in the artist's oeuvre. Embedded with such high importance and heavy in significance, it is no wonder that a portrait such as the present lot has been so rarely seen publicly and has remained in a private collection since its conception.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, NY: 2008).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
Alexander 'Skunder' Boghossian (Ethiopian, 1937-2003)Untitled signed and dated 'SKUNDER 62' (lower left)oil on board54.6 x 45.7cm (21 1/2 x 18in).(framed)Footnotes:Painted in 1962, the present work was created during a significant decade in Alexander 'Skunder' Boghossian's artistic development. The painting was created the year before Skunder embarked upon his most celebrated body of work: the Nourishers series (1963-1964). Comprised of twelve large-scale paintings, the series is widely understood to be the apex of Skunder's synthesisation of African and European iconography in his development of an Ethiopian modernism.Through swirling cosmic imagery and amorphous primordial forms, Skunder established a visual language which he described as an 'Afro-Metaphysics'. As Chika Okeke-Agulu suggests, the artist's intention in these works 'was to draw on the power of religion and myth to invoke and signify a new beginning for independent Africa' (Okeke-Agulu, 2013: p. 12). The present work stands as a formative example of these themes in the artist's painterly practice which he continued to explore in the Nourishers series. Skunder was born in Addis Ababa in 1937. He remained in Ethiopia until the age of seventeen when he won second prize in the Abstract Art category at the National Art Exhibition. Held to mark the Jubilee Anniversary Celebration of Emperor Haile Selassie, the exhibition resulted in Skunder being awarded a scholarship to study abroad. He embraced the opportunity and undertook training at Saint Martin's School of Art, the Central School of Art and Design, and the Slade School of Fine Art in London, before travelling to Paris. Here, he attended the École Supérieure des Beaux Arts (1955-56) and the Académie de la Grande Chaumière (1957-63).The move to Paris placed the young artist at the heart of a dynamic community of artists, philosophers, and activists from across the African diaspora. Together, these individuals interrogated the nature of an empowered Black identity in light of contemporary postcolonial politics. Skunder was particularly inspired by the pioneering activists he encountered during this period including Aimé Césaire, one of the key founders of the Négritude movement. Négritude offered the Ethiopian artist a conceptual framework within which to formulate a new avant-garde aesthetic - one that deconstructed the boundaries of Western modernism to champion a Pan-African visual iconography.Created while Skunder was a student at the Académie de la Grande Chaumière, the present work exemplifies the artist's impetus towards experimentation as it fuses African iconography with techniques and materials drawn from European modernism. Biomorphic forms and mask-like heads populate the canvas. Thick black lines crisscross the surfaces of these earth-tone forms. The resultant patterns evoke the lines incised into the Konso funerary sculpture of southwestern Ethiopia or woven into Bobo hemp and wooden masks from West Africa. These elements are juxtaposed with a green geometric background which recalls the formal Cubist experimentation of Paul Klee (1879-1940) - an acknowledged influence on Skunder's practice. While the present work references both African and European modernist tropes, it also reveals the key influence of diasporic artists operating in Paris in the 1960s on Skunder's practice. He recalls that, in this period, '[w]e were all coming together to listen to our stories and to find a commonality in ourselves and in our struggles' (quoted in Cassel, 1993: p. 66). He took particular inspiration from the unique sculptural forms crafted by the Ivorian sculptor Christian Lattier (1925-1978). Emigrating to France in 1935, Lattier reimagined traditional West African weaving techniques within his own practice. He interlaced strong hemp fibres around a central wire frame to create expressive masks, animals, and abstracted biomorphic forms. The elegant curvature of the masks, with their rounded eyes and open mouths, is echoed by the two heads illustrated by Skunder towards the upper left corner of the present work, illuminating the diverse influences that inform the artist's painterly practice. The body of work created by Skunder in the early 1960s asserted his position at the forefront of the international art world. The significance of his oeuvre was swiftly recognised by high-profile art institutions. The Musée d'Art Moderne, Paris, and the Museum of Modern Art, New York, both acquired early works by the artist in 1963 and 1965, respectively.Skunder's work continues to be widely celebrated today. His paintings are held in prominent collections worldwide and have been included in major international exhibitions including, most recently, the ground-breaking show, Surrealism Beyond Borders, when it was staged at The Metropolitan Museum of Art, New York (October 11, 2021–January 20, 2022). BibliographyChika Okeke-Agulu, 'Contemporary African Artists and the Pan-African Imaginary', in Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Alexander 'Skunder' Boghossian, and Victor Ekpuk, exh. cat., University of Maryland University College, USA, February 12–May 12, 2013.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
Registration No: JKH 716L Frame No: 1025280 Engine No: 102313 CC: 350 MOT: ExemptA mostly original Honda CB350FUsed by the current vendor until last yearOwned for the last six yearsThe Honda CB350F is a four-cylinder, four-stroke, 347cc motorcycle based on the larger versions of the day (CB750, CB500). The motorcycle was manufactured by Honda in Japan from 1972 to 1974. At the time, the CB350F was the smallest capacity four cylinder motorcycle ever to enter into full-scale production. There were no changes to the 1973 model, but Honda designated the 1974 bike the CB350F1. Soon after production was discontinued, it was replaced by the CB400F. Although Honda had a 350 Twin that critics said was more powerful, lighter, and cheaper, many felt the 350 Four was faster and smoother running.This 1973 Honda CB350F (Four) was purchased by the current vendor in 2018 and it has been used by him ever since. The Honda is in mostly original condition and showing signs of use over the years. Currently on SORN since 2021 and has been running recently, but will need some recommissioning before use. It comes complete with a current V5C. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
Postcard collectors catalogues and magazines together with 2 maps, one Bartholomew's Sheet 18 Birmingham District scale 12 miles to an inch and a 1917 Carte-Guide Campbell No2 Nord automobile club map and a quantity of clear postcard protector sleeves together with an early 20th Century postcard album and contents together with loose postcards to include mid 20th Century American buildings and architecture, Cunard Line RMS Franconia, early 20th Century Tunis and Tangiers scenes and mixed holiday postcards from around the World Location:RWM
A CENTRE SECONDS CHRONOGRAPH FULL HUNTER POCKET WATCHin 18ct gold, off white dial, painted Roman numerals with 0-300 chronograph scale outer track, painted 'CENTRE SECONDS KEYLESS' to the centre, spade hour hand, sweep chronograph hand, maker's mark 'JR', dust covers and case all hallmarked for Chester, 1880, manual wind movement numbered 9/55100, case 55.0mm, (gross weight - c.142.7g).
Gents Tudor Black Bay Bronze 200m automatic chronometer watch, Calibre MT5601 Movement, Model Ref 79250BA, Serial No. 1980584. Slate grey dial with Arabic numerals at 3, 6, 9. Snowflake luminous hands. 43mm Bronze case, Sapphire Crystal glass and bronze pin-buckle on brown leather strap (a second Tudor Slate Grey leather strap is included in box). Anti clockwise rotating bezel with degreed scale from 0 to 15 minutes. Bezel insert unmarked. c/w with box, paperwork, swing tag and guarantee card. Purchased 2019. (s)
Omega Speedmaster Co Axial Chronometer steel case strap watch. Omega Calibre 3330 Ref No. 86624494-178.2060. Black dial, silver sub dials, date at 6 o'clock, inner minute scale, black insert tachymeter scale bezel, pushers at 2 and 4 o'clock position. Centre chronograph hand not at zero, 2 o'clock pusher loose (service required). Sports strap with Omega deployante buckle. Tachymeter inserts unmarked, spare strap included, box, instruction book, certificate card and international warranty card. Dated 2019. (s)
the signed white dial with black Arabic numerals, black outer minutes track, red Km scale and blue tachymetre scale, date aperture at the three o'clock position, central seconds hand, subsidiary seconds and minutes dials, moon phase aperture above the six o'clock position, automatic movement, the case 36mm diameter.
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