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Lot 25
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Olokun Dancers signed and dated 'BEN ENWONWU/ ILE-IFE 1974' (lower right)oil on canvas 67.5 x 47.3cm (26 9/16 x 18 5/8in).(framed)Footnotes:ProvenanceA private collection.LiteratureOgbechie, S. O., 'Portrait of an Artist: The Queen to Sit for Ben Enwonwu', Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 2008), p. 128.In response to the romanticised account written by Geoffrey Gorer in his book Africa Dances published in 1935, Benedict Enwonwu concluded that, although Gorer's account critiques colonial rule, very little was in fact understood about the role dancing had in ritualistic performances. It was this travelogue that prompted Enwonwu's African Dances series, beginning in the 1940's, which aimed to evoke and emphasise the conceptual symbolism of dance forms, movement and cultural identity. Completed in 1974 at a time when the artist was generating a large number of paintings for the series, Enwonwu was also serving as a Professor of Fine Arts at the University of Ife between 1971 and 1975. It was during this period, S.Ogbechie observes, that the Africa Dances series took a direction that pointed away from more literal representations affiliated with his 1940's work. More informed by the Negritude ideology and during a period where subject use of the female figure took a front seat in Enwonwu's work, the series took a more conceptual angle, away from naturalistic notions of dance. It was Enwonwu's opinion, Ogbechie writes, that female representations in his work were displays of idealisation within African culture. During this time period, Enwonwu met the granddaughter of the former Ooni (king) of Ife, Adetutu Ademiluyi and would complete the first of his monumental Tutu works, completed in 1973. As perhaps a continuation of using the female form as ideological figures of power, the present work was completed only the following year from the Tutu series.'In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation- a people!'The present work is unique in composition in comparison to other works of the 'Africa Dances' series as the posture of the women is hunched over, contrasting the more fluid and open postures of dancing women in works preceding it such as Africa Dances (1973). This comparison allows us to identify the dance presented as 'Olokun'. Enwonwu would, on occasion, visit the Ori Olokun Performing Arts Centre in Ife which was co-founded by Peggy Harper, a choreographer who studied and championed traditional forms of Nigerian dance. Indeed, the date of the present work and the Ife clothes the dancers are wearing, suggests that this painting may well have been completed at Ori Olokun Performing Arts Centre.Resonating with the compositional approach that Enwonwu had used in earlier works of his Africa Dances series in terms of mirroring and repetition of the figures in this present work. While the figural repetition may be literal to the dance being depicted, it could also be a technique given by the artist to imbue a sense of movement throughout the work, contributing to a sense of rapid motion. The use of repetition is thematic of the artist's wider oeuvre and can also be seen in his Negritude series, the subjects of which, while more metaphysically conceptual given the exaggerated curvature of the forms, are rhythmic in depiction due to this similar echoing technique.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu, the making of an African modernist, (New York: University Rochester Press, 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
![MANUSCRIPT. [An account book for the Aldenham Estate, Hertforshire. N.p.: 1918-1939.] 526pp., manuscript, folio (432 x 275mm.](https://cdn.globalauctionplatform.com/02537358-0481-477d-bfa2-afac010d0d41/11129e44-715c-44c8-adaa-afc100fdbd99/468x382.jpg)
Lot 3157
MANUSCRIPT. [An account book for the Aldenham Estate, Hertforshire. N.p.: 1918-1939.] 526pp., manuscript, folio (432 x 275mm.) 24pp. of tabulated index in red and black, 502pp. in a single legible hand relating to rents, tithes, petty cash, repairs and to money spent on the woods and gardens. (Toning, paper label remains to front-free endpaper.) Contemporary reversed calf with brass trim to edges (worn). Note: Aldenham House was the seat of the Gibbs family . It was known especially for its gardens, its flowering trees and shrubs grown by Vicary Gibbs. After his death in 1932, the estate's huge collection of plants was auctioned by Sotheby's. The account book ends in 1939 when the house was requisitioned by the BBC as an overseas broadcasting station.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 92
Property from a London Collection JAN KIP (c.1653-1722) SET OF FOUR SEAT VIEWS: HULL AT HILL, THE SEAT OF SIR EDWARD FUST; HALES ABBEY, THE SEAT OF LORD TRACEY; STANWAY THE SEAT OF JOHN TRACEY; SWELL, THE SEAT OF SIR ROBERT ATKYNSengravingfull sheets, each carrying a plate number top right corner each image: 35 x 43.5cm; 13 3/4 x 17ineach frame: 51 x 61.5cm; 20 x 24 1/4in(4)*sold without reserve
Lot 1163
A pair of George III mahogany hall chairs, the carved shield-shaped backs with carved leaf and ribbon detail, centred by panels painted with initial 'S', shaped seats on slender turned tapering legs, with labels to underside inscribed "This shield-back hall chair bearing the letter 'S' and its companion pair, were originally at Newtonairds, Dumfries, the country seat of Mr. Smith, Glasgow, Tea Merchant, whose daughter Madelaine, was tried for the murder of her lover with arsenic and acquitted on a 'Not Proven' verdict", 41 (across seat) x 46 x 89cms high.
Lot 1104
A North Country joined and carved oak box settle, probably Yorkshire circa 1700, the back with four large relief carved panels and four smaller panels above, all carved with stylized flowers and fruit, the top rail with conforming meandering decoration, the hinged boarded seat above five panels, each carved with lozenge and scroll decoration, the downswept open arms on baluster-turned underarm supports,, 241 x 60 x 145cms high. NB. The carving employed here is typical of the late 17th century, however, it continued to be used on some items of Yorkshire oak furniture well into the 18th century. It bears a resemblance to a settle dated '1756' at Lotherton Hall, Leeds, Yorkshire; illustrated Victor Chinnery, Oak Furniture: The British Tradition (1993), p. 478, Figure 4:138. Also see Early British Chairs and Seats 1500-1700 by Tobias Jellinek - Joined Settles. Other examples include Yorkshire/Derbyshire box settle, carved with the date '1720', illustrated in Percy Macquoid, A History of English Furniture: The Age of Oak (1925), p. 215, Figure 188; and see Bonhams Oxford Sale, 13th May 2015, Lot 291, The Oak Interior.
Lot 1157
An early 20th Century painted satinwood bergere armchair in the Regency taste, with hand-painted polychrome floral and ribbon detailing, the oval backrest with central portrait of a lady, raised on tapering spade feet, the chair has a cushioned seat upholstered in pale green fabric, 62 x 63 x 95cms.
Lot 1102
Attributed to Epstein: a fine quality mid 20th Century Queen Anne style burr-walnut ten-piece dining suite, comprising: eight high back dining chairs, a shaped rectangular extendable dining table with an additional leaf, and a serpentine fronted sideboard, the sideboard 104h x 167w x 53cms, the table 76h x 164w (200 extended) x 98cms, the chairs 115h x 51 (across seat front) x 56cms.
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