WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s. The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory. He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career. Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'. (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work.
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Irma Stern (South African, 1894-1966)The Yellow Hat signed and dated 'Irma Stern/ 193?' (lower left); bears inscription 'Man in Yellow Hat (1938)' (verso), further inscribed 'Wolpe Gallery' (verso)oil on canvas 65 x 66cm (25 9/16 x 26in).(framed)Footnotes:ProvenanceWolpe Gallery, Cape Town;Sotheby's/ Stephen Welz & Co sale, Johannesburg, 31st October 1988, Lot 221;A private collection. ExhibitedMacFayden Hall, University of Pretoria, (April 1933), no. 24. Lezard's Gallery, Johannesburg, (May 1933), no. 20. Newland's House, Cape Town (19-26 February 1934), no. 24.LiteratureStephan Welz, Art at Auction in South Africa: Twenty Years of Sotheby's/Stephan Welz & Co., 1969-1989, (Johannesburg: A.D. Donker, 1989), p.122Irma Stern's handwriting, given her expressive hand, prevents the date of 'The Yellow Hat' from being clearly legible. The last digit of the date she has inscribed beneath her signature in the lower left corner of the painting is unclear.More clear is an inscription, not in Stern's hand, on the stretcher that includes reference to the Wolpe Gallery and was probably made in the 1960s when Joe Wolpe befriended the artist. The inscription reads 'The Man in the Yellow Hat (1938)'. It is this inscription that seems to have persuaded previous cataloguers to date the work '1938' when it was first brought to market in 1988. In fact, the origin of the painting can be traced with certainty to the beginning of this decade, to 1931 when Stern spent a few months on Madeira on her way to Europe. A drawing that is unmistakably a portrait study for the painting is preserved in the Irma Stern Museum and is clearly dated 1931 (Irma Stern Trust #741). As Stern left Madeira on the Kenilworth Castle in November 1931 the painting is likely to have been at least started before then. She had an exhibition of some of her Madeira work at Foyle's Gallery, London, in January 1932, but it is not known what works were shown because there is no exhibition list preserved in her Scrapbooks at the National Library of South Africa in Cape Town. Nor did the work feature on the list of her first exhibition following her return to Cape Town, at Ashbey's Gallery in November. But it is listed in both her exhibition at MacFadyen Hall, University of Pretoria, in April 1933 (as #24 at 40 guineas), and that at Lezard's Gallery, Johannesburg, in May (#20). And 'The Yellow Hat' was shown at Newlands House, Cape Town, between 19 and 26 February 1934, as #24 again at 40 guineas. Although Stern left the island before the end of 1931, some of her Madeira paintings, for example 'The Fisherman' and 'The Two Harlots', are clearly dated 1932. The last digit of the date on 'The Yellow Hat' may best be explained by imagining Stern completing the work with signature and date while still on the island but revising both the work and the date in 1932 or 1933 after she had returned to South Africa. Stern wrote (in her inimitable style) on 11 October 1931 from Madeira to Roza van Gelderen, her friend in Cape Town, that she was staying in Santa Cruz, on the east coast of the island in 'a delight full fisher village': 'You cannot imagine how interessing [sic] this all is for me. But how I ever can go away from here and feel happy again I do not know – it is so full of beauty and colour and life.'There are indications at other times during her stay that she was not always so happy and even that she might have had some kind of breakdown, but Karel Schoeman is undoubtedly correct in suggesting that Stern used her visit to Madeira to find a new direction in her art, particularly for the role of colour. According to an interview she gave in June 1931, a few months before her stay in Madeira, Stern found the colour scheme of her 'Native Studies', that had been her principal subject up to this time, limited to the browns of African bodies enlivened only by touches of orange, red and green; and that she felt the need to expand her palette, interestingly through the medium of Still Life painting that allowed the distribution of colour accents across the picture surface. And, in 1933, looking back on the time leading up to her visit to Madeira, she stated:'But now a growing absorption in colour theory even to the exclusion of the subject-matter, overtook me to such a degree that for two or three years all my work consisted in studying and building up a new palette. The year 1931 brought me for a few months to Madeira where I was able to harvest the benefits of my recent studies.' The reaction to Madeira expressed in her letter to van Gelderen confirms that she found beauty and colour there. Significantly, she also found 'life' in human figures who were rather less passive than the mode she had devised for her African subjects.'The Yellow Hat' is one of several fisher subjects that Stern exhibited in South Africa in 1933 and 1934. While perhaps not as overtly dramatic as other subjects she recorded in Madeira – such as 'The Hunchback', 'The Blind Boy', 'The Two Harlots', etc. – ocean fishing was seen generally at that time as a heroic occupation representing the idea of human struggle with nature. To capture the implicit drama of these fishermen's lives, Stern returned to her Expressionist roots in her vigorous brushstrokes, loosely defined planes, broken contours, and compressed spaces. All these devices were achieved through a newly energised application of colour. The mood of many of Stern's Madeira paintings is sombre, not to say tragic. But in 'The Yellow Hat' she uses the bright yellow of the large Sou'Wester to introduce a heightened, even fauvist palette as another way to express the exceptional nature of the mariner's heroism. As D.L. wrote in response to the Lezard Gallery exhibition in 'Miss Irma Stern's Exhibition. A Brilliant Modernist', in The Star, May 11 1933, ''Yellow Hat', and several more are not only harmonious in colour, but express the character of their subjects in a way quite impossible by more conventional methods'.We are grateful to Professor Michael Godby for his completion of the above footnote.BibliographyJeanne van Eeden, 'Irma Stern's First Exhibition in Pretoria, 1933', South African Journal of Art History, 13, (1988), pp.89-104.Marion Arnold, Irma Stern, A Feast for the Eye, (Cape Town: Fernwood Press, 1995), passim, for the Madeira works.Karel Schoeman, Irma Stern, The Early Years, 1894-1933, (Cape Town: The South African Library), pp. 99-100.'Irma Stern and her Work', South African Life and the Woman's Forum, (December 7 1933)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
Ladi Kwali (Nigerian, circa 1925-1984)Water Vessel stamped 'Abuja' in Arabic/ 'LK' (to the base)glazed stoneware 20 x 20.5 x 20.5cm (7 7/8 x 8 1/16 x 8 1/16in).Footnotes:Joining the training centre in 1954, Ladi Kwali was already an established potter with the Emir of Abuja already holding a collection of her works. Her fame grew internationally, and Kwali joined Michael Cardew on his European (1962-63) and American (1972) demonstrative and educational tours. The result of her efforts and exposure would lead to her MBE that was awarded to her in 1962. In 1970, she was further awarded an honorary doctorate from Ahmadu Bello University in Zaria. Ladi Kwali's image is also used on the 20 Naira Nigerian bank note and a major street in Abuja has been named Ladi Kwali Road, emphasising her importance to the country also evident in her receiving the Officer of the Order of the Niger (OON) in 1981. Through these acknowledgments and artistic exposure and with a new found global respect for her practice, Kwali would influence a number of the next generation of potters and artists such as Magdalene Odundo.Born in the ancient potting region of Gwari, Ladi Kwali was trained in the traditional methods of production, building up her vessels in coils before firing them in the open air in a bonfire of dry vegetation. She achieved international recognition in 1954 after she was invited to join the famous British ceramicist, Michael Cardew, when he opened a studio in northern Nigeria. However, even with the introduction of equipment designed to make the production of pottery easier by Cardew, Kwali was known for remaining true to her traditional Gwari practise. True still was her commitment to her zoomorphic and geometrical that she would adorn her vessels (such as the present lot) with. Susan Vogel noted on her patriotist practise, 'over her whole working life she made just one change – the switch from earthenware to stoneware' this change was only due to the conditions and material available to the pottery. (Susan Vogel, Ladi Kwali, Michael Cardew and a Tangled Story of African Studio Pottery, ed, Kerstin Pinther, Alexandra Weigand, Flow of forms/Forms of flow, Design Histories between Africa and Europe, (Germany: Transcript publishing, 2018), p, 108).The present work is a beautiful example of the potter's iconic process. Hand coiled, it stands at half of the size of a traditional functional water vessel. On a Body 44 clay, which can be seen through the incised lines as lighter celadon green in comparison to the darker glaze possibly clear AA glaze aver a thin black slip, this work has been fired on a high heat to keep a shine to the surface of the work. Classically Kwali, the zoomorphic imagery is incised into the work in a geometric longitudinal fashion to contrast the wide bulbous drum of the vessel. Kwali's skill and talent is evident throughout the creative process of this vessel and it acts as a wonderful example of what has made Ladi Kwali a key figure in the pottery field and a national treasure to Nigeria.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Uzo Egonu (Nigerian, 1931-1996)A New Lease of Life (Third) signed and dated 'UZO Egonu 89' (lower left)/ titled 'A new lease of life (Third) Oil 1989'; further bears the label 'Uzo Egonu/ 019' (to the stretcher bar, verso)oil on canvas 135 x 200cm (53 1/8 x 78 3/4in).(framed)Footnotes:ProvenanceA private collection.Paired with his developed cataracts in both eyes from the years 1979 to 1983, the period of painting that followed was known as his period of 'Painting in Darkness'. The works created in this period may well have had their palette mixed from memory. This would have been a time of anxiety for the artist who described it as a period of 'pulling through'. (Uzo Egonu, 'Painting in Darkness 1979-1983', undated manuscript, p 2. Artist's private papers.) Ironically included in this dark period, the palette of the present work is bright and vivacious, a technique that would transcend into the following years after Egonu received his last eye operation in 1983 restoring his sight. While his eyesight improved, the decline in Egonu's physical health given two heart attacks and a diagnosis of limited time to live motivated the artist to get his estate and administration in order, preparing for the end of his life. Outliving his health predictions, Egonu's work would again evolve, stimulated by what he believed to be 'a new lease of life'. (Egonu, 'The Circumstances leading to the creation of the work', undated paper. Artist's private papers.) It was this newly found defiance and energy that would turn Egonu's attention to a more contemplative observation of himself. This commentary began with self-portraits in the form of large-scale heads in the first of a series of paintings under the shared title A New Lease of Life. 'A person may detest exercise or walking, prefers [sic] butter to low cholesterol margarine, likes drippings... but circumstances, due to the consequences of that particular life style which affects the health, may wipe out all the detestations'.(Egonu, 'The Circumstances leading to the creation of the work', undated paper. Artist's private papers.)Aligning with the above quotation, the present work shows us the theoretical elements of a traditional still life. Depicting his reality, and the objects that surround his life, using them as a self-reflective metaphor, we see tins of food labelled 'Low Fat Yogurt', 'Sunflower margarine', 'Sunflower Oil' , and 'Skimmed milk'. Accompanied by illustrations of vegetables and fruit, this food lies beneath a building labelled 'Natural Health Clinic'. An inscription to the upper left of the work reads 'Lecithin Granules', commonly used to treat high cholesterol and further acts as an emulsifier to extend the life of food. It is an extremely rare element of Egonu's practise whereby he would include labelling and words in his art, promoting this idea that his later works following his health issues where more intentional and self-reflective in their meaning, rather than ambiguous and up for interpretation. This could be classed therefore as a type of self-portrait depicting the elements of his life that were relevant to his everyday life.Our thanks to Prof. Olu Oguibe author of 'Uzo Egonu, An African Artist in the West', pub 1995 for his assistance with the compilation of the above footnote.BibliographyChinua Achebe, 'Onitsha: Gift of the Niger', Morning Yet on Creation Day, (London: Heinemann, 1975)For further information on this lot please visit Bonhams.com
Dutch School (19th century) Still life of flowers in a terracotta vase on a marble ledge Unsigned, oil on canvas.75 x 60cm (framed 88 x 72.5cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is extensive craquelure and cracking across the surface of the painting. The painting is ornately framed but not glazed. The frame has some minor knocks and losses.
Dutch School (19th century) Still life of flowers in a terracotta vase on a marble ledge Unsigned, oil on canvas.75 x 62cm (framed 96.5 x 83.5cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is extensive craquelure and cracking across the surface of the painting. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
CYRUS AFSARY (AMERICAN b. 1941), STILL LIFE WITH RED POPPIES oil on canvas, signedframed image size 40cm x 46cm, overall size 65cm x 49cm Note: Cyrus Afsary is an American artist known for works of art that not only capture moments in time, but create moods about people and places as well. With an eclectic range of subjects, Afsary moves from portraits to still lifes to landscapes with a magical grace that reflects his sensitive and emotional study of life. As a child, his love for art was evident. And while his father was concerned for his penchant for art, his mother encouraged his talent. Afsary received commissions for painting portraits, which served him well later in his career when he was invited to paint portraits of John Wayne, Sylvester Stallone, Frank Sinatra, Susan Anton, Dean Martin, and Wayne Newton’s horse, Aramis. In college, Afsary earned two Bachelor of Arts degrees, one in Fine Arts and the other in interior design. His education has led him, through the years, to paint a wide variety of subjects in his preferred medium, oil, and sometimes watercolours and pastels. He has been greatly influenced by the artwork of the masters, especially the great Russian artists, Ilya Repin and Valentin Serov and also European artists.
* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972), GRAN VIA watercolour on papermounted, framed and under glass. image size 24cm x 33cm, overall size 40cm x 49cmLabel verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.
JOAN BAKER (BRITISH 1922-2017) MONTMARTRE WITH THE SACRE-COEUR signed, titled and dated PJ BAKER, 1989 / MONTMARTRE lower right watercolour and bruch and ink over pencil45 x 38cm; 17 3/4 x 15in68.5 x 60cm; 26 3/4 x 23 1/2in (framed)together with: eleven other watercolours and two pen and ink drawings including depictions of Tettenhall, St Germain des Pres, the River Seine, a still life of flowers and various landscapes(14)*offered for sale without reserve
Alberto Morrocco (Scottish, 1917-1998)Still Life with Leek and Watermelon signed 'Morrocco' (upper right)oil on canvas63.3 x 75.3cm (24 15/16 x 29 5/8in).Footnotes:ProvenanceWith the Scottish Gallery, Edinburgh.ExhibitedEdinburgh, The Scottish Gallery, New Paintings by Alberto Morrocco, August 1987, cat. no. 34.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Donald McIntyre (British, 1923-2009)Memories of S. J. Peploe: Still Life with Roses and Fruit oil on board50 x 47cm (19 11/16 x 18 1/2in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Still Life of a Dish of Fruit on Purple Cloth signed 'Hunter' (upper right)oil on canvas25.4 x 38.1cm (10 x 15in).Painted circa 1921Footnotes:ProvenanceCollection of Robert Lockhart, Glasgow; thence by descent.For further information on this lot please visit Bonhams.com
Samuel John Peploe RSA (British, 1871-1935)Eilean Annraidh from the North End, Iona signed 'Peploe' (lower right)oil on board37 x 44.5cm (14 9/16 x 17 1/2in).Footnotes:The island of Iona was a hugely significant location within Peploe's painting life. Having visited for the first time in 1920, he returned almost every summer until his death in 1935, often accompanied by his friend and fellow painter, F. C. B. Cadell. The island is a place of great spiritual resonance and beauty, and it is this, paired with its rapidly changeable light and weather, which charged the landscape with an energy the artists were keen to capture in paint. In this place, the sand, sea, rocks, and distant coastlines provide an endless subject matter which Peploe clearly delighted in trying to bring to life in his work.The present lot shows a view from the North End with the small island of Eilean Annraidh and its stretch of beach visible. In the foreground Peploe has focussed on a particularly prominent rocky feature which he has captured through spontaneous lines to give both form and weight. In the distance one can see the Isle of Mull and the entrance to Loch Na Kiel. In Peploe's still lifes the palette is often dominated by bright bold colours and there is a clear desire from him to reach a degree of compositional perfection. In contrast to this, his Iona views feel refreshingly spontaneous in their composition, and they highlight his ability to work in a cool palette of blues, greens, and pinks. The present lot showcases these aspects of Peploe's work, whilst celebrating all those features of Iona which he loved so much.For further information on this lot please visit Bonhams.com
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Still Life signed and dated 'Robin Philipson/1990/91' (verso), inscribed 'ROBIN PHILIPSON/'STILL LIFE'/1990/91/OIL ON BOARD' (artist's label, verso)oil on board58.4 x 58.4 cm (23 x 23in).Footnotes:ProvenanceWith Fosse Gallery, Stow-on-the-Wold, April 1991.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
After Sir Henry Raeburn RA, Late 18th/Early 19th CenturyCommodore George Johnstone (1730-1787) oil on canvas89 x 69.5cm (35 1/16 x 27 3/8in).Footnotes:There are at least two other known versions of the present painting, each copied after the original by Sir Henry Raeburn. Most notably, the National Maritime Museum, Greenwich holds a version. George Johnstone (1730-1787) lived a varied and truly very interesting life. Born in Dumfriesshire, he pursued a career in the Royal Navy where, whilst still a teenager, he saw action during the War of the Austrian Succession (1740-1748). Following this, he served during the Seven Years' War (1756-1763), during which he rose to the rank of post-captain and received his first command of the 24-gun HMS Hind. Following his wartime postings, Johnstone was appointed by the Prime Minister, John Stuart, 3rd Earl of Bute, to the role of Governor of West Florida; not an unsubstantial position within the colonial governance of America. However, despite achieving success in various areas of this role, his wish to declare war on the Creek Indians lost him the favour of the Secretary of State for the Southern Department. He left the colony in 1767 to pursue a career in politics.1768 saw his appointment as a member of parliament, a role in which he was particularly outspoken on colonial matters and the governance of the East India Company. This position led to his appointment to the Carlisle Peace Commission to the Americas - this would mark Britain's first official acknowledgement of the US Congress.Upon the French joining the American Revolutionary War (1775-1783), Johnstone returned to the Navy in 1779 at the rank of commodore. His service was distinguished, with various successful naval engagements across the Atlantic. With the close of the war in 1783, he returned to politics and a directorial role in the East India Company. This he held until shortly before his death in 1787.For further information on this lot please visit Bonhams.com
Donald McIntyre (British, 1923-2009)Still Life of Flowers signed 'DMC' (lower right)oil on board34.5 x 24.5cm (13 9/16 x 9 5/8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Bellany CBE RA HRSA LLD(Lon) (British, 1942-2013)Still Life of Lilies signed 'John Bellany' (verso)oil on canvas91.5 x 91.5cm (36 x 36in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Peter McLaren (British, 1964)Still Life with Poppies titled, signed and dated 'P. McLaren 92' (verso)oil on board63.5 x 74.5cm (25 x 29 5/16in).Footnotes:ProvenanceWith The Scottish Gallery, Edinburgh.Private collection, UK (acquired from the above in 2013).ExhibitedEdinburgh, The Scottish Gallery, Peter McLaren, 1992.Edinburgh, The Scottish Gallery, Modern Masters, 3 - 27 July 2013.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
HUGH CRONYN (BRITISH 1905-1996) QUERCY, STILL LIFE BEFORE FIELDS oil on canvas50.5 x 40.5cm; 19 3/4 x 16in (unframed)Painted in the 1980s; a view of harvesting from the studio at Caufour, Rouillac in the Lot. The Cronyn's long search to buy a place of their own in the Lot ended with finding the house and splendid barn, which was converted into a studio which preserved the building’s original features. It had a sunny view across the tiny valley.ARR may apply
BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (Lots 98-123) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art (1947-49) and Camberwell (1949-51) before studying painting at the Royal College of Art in 1951. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. At the AAS he was talent-spotted to return to the RCA, where he spent the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). At the RCA students such as James Dyson treasured Myers’ good advice, remembering him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a fellow of the RCA, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels, the still-lifes he returned to again and again in his studio, the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space. He married Pamela Fildes, granddaughter of the painter Sir Luke Fildes in the early 1950s (lot 98); they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 121-123). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art’ (1979). He also penned articles for the magazines in The Artist (May 1988) on his highly original approach to pastel (lots 110, 111, 113-117), and in Artists and Illustrators (1995) on his Venice views (lots 118 & 119).BERNARD MYERS (BRITISH 1925-2007)MISS PAMELA FILDESsigned, titled and dated on reverse Bernard Myers / Miss Pamela Fildes / 1955-6oil on canvas122 x 91.5cm; 48 x 36in(unframed)Pamela Fildes was the granddaughter of the painter Sir Luke Fildes RA (1843-1927). She married Bernard Myers shortly after she sat for the present painting. With the studio inventory number 0244 on the reverseARR may apply
A CLOISONNE ENAMEL WALL VASE, CHINA, 18th CENTURYOf flattened form, the body supported on a short spreading foot atop a gilt-copper stepped stand raised on three ruyi-form feet and rising to a tall flared neck with a ribbed rim decorated with pendent ruyi heads, flanked by a pair of gilt-copper openwork chilong handles. Brightly enameled on a turquoise ground with a central lotus bloom borne on a leafy scroll surrounded by colorful tendrils, all between overlapping petal and stiff leaf lappet bands at the shoulder and lower body, respectively. The neck with plantain leaves, separated by ruyi heads, above a T-scroll band, below lotus scroll. The copper back with two pierced apertures.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. Sara Fredericks (1903-1986) was a designer and a retailer who specialized in women's luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her."Condition: Good condition with old wear and manufacturing irregularities including pitting. Tiny nicks and small dents. The foot and base loose, the screw still in place but the nut missing. Minor flaking and small losses to enamels, one with an old fill. For more details, please request a video of the wall vase shot under strong blue light directly from the department.Weight: 413 gDimensions: Height 26 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1276 Price: HKD 204,000 or approx. EUR 38,000 adjusted for inflation at the time of writing Description: A cloisonne enamel wall vase, Qing dynasty, 17th centuryExpert remark: Compare the closely related technique and form.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1278 Price: HKD 228,000 or approx. EUR 42,000 adjusted for inflation at the time of writing Description: A rare cloisonne enamel wall vase, Qing dynasty (18th/19th century)Expert remark: Compare the closely related technique and form. 十八世紀掐絲琺瑯纏枝蓮紋壁瓶壁瓶半器型，敞口，束頸豐肩，斂腹，足部外撇。頸部鑲鎏金銅雙耳，鏤空螭龍紋；瓶身松石綠色地，纏枝蓮紋；頸部芭蕉葉紋；瓶足鎏金銅底，三如意形足。瓶背面銅面有兩個穿孔。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。 品相：狀況良好，有磨損和製造缺陷，包括點蝕，微小的刻痕和小凹痕。支腳和底座鬆動，螺釘仍在原位，但螺母遺失。琺瑯有輕微剝落和少量缺損，存在舊修。 如需瞭解更多細節，請直接向我司索取在強藍光下拍攝的視頻。 重量：413 克 尺寸：高 26 釐米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2006年5月30日，lot 1278 價格：HKD 204,000（相當於今日EUR 38,000） 描述：十七世紀清代銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2006年5月30日，lot 1278 價格：HKD 228,000（相當於今日EUR 42,000） 描述：十八至十九世紀銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A ROOT AMBER SNUFF BOTTLE, MID-QING DYNASTYExpert's note: Fine 'Root Amber' snuff bottles of an early date are quite rare. The present example with its distinct honey-toned swirls, somewhat reminiscent of the 'ghost eyes' found in huanghuali wood, is of the most desirable type.China, 1750-1850. The ovoid body supported on an oval foot with concave base and rising to a cylindrical neck with a flat lip. The shoulders boldly carved with lion masks suspending mock-ring handles, the remaining surfaces unadorned to best display the swirled and variegated material with patterns resembling an ancient piece of burl wood.Provenance: The Maurice Fry Collection, Illinois, USA. Maurice Fry (1931-2019) was an American entrepreneur and businessman. He discovered Asian art during his time in the US Army, when he served in the Korean War. In 1956, Maurice found his life partner in Elizabeth C. Fry (1934-2022), and together they embarked on a decades-long and captivating journey of collecting.Condition: Good condition with significant old wear and expected natural imperfections, one with a minuscule fill. Natural inclusions and fissures overall, some of which have developed into fine hairline cracks over time. One shallow chip to the lip. Fine naturally grown patina.Stopper: Glass Weight: 43.7 g Dimensions: Height including stopper 76 mm. Diameter neck 17 mm and mouth 6 mm. One of the more exotic materials used for snuff bottles, amber is the translucent fossilized resin of ancient coniferous trees from the Tertiary period. Three main varieties of amber were used during the Qing Dynasty: a range of transparent brown, golden-brown and reddish amber; a yellow, cloudy amber associated with the Baltics; and 'root amber', such as the present bottle, where the range of material has inclusions of opaque yellow-ochre and brown colors. 'Root' amber, is so called because it was believed that the resin combines with clay at the root of the tree to obtain its distinct color. Amber was valued long before the snuff-bottle era and was considered to be a symbol of longevity, since it was known to have laid in the ground being transformed over millennia.Literature comparison: For a similar root-amber bottle still in the Imperial Collection see Chang Lin-Sheng, 'Snuff Bottles in the Collection of the National Palace Museum', Taipei, 1991, p. 252, no.374.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2018, lot 144Price: USD 3,125 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A root amber snuff bottle, 1780-1850Expert remark: Compare the closely related manner of carving, decoration, with similar lion mask and mock ring handles, and color. Note the size (6.7 cm). While the two bottles likely date to different ends of the 1750-1850 period, with the current lot possibly being the older example, the Bonham's bottle provides a good basis for comparison based upon the form and material. 清代中期根珀鼻煙壺中國，1750-1850 年。 鼻煙壺圓柱體頸部，削肩，收腹，橢圓形圈足。肩部兩側各有一個輔首圓環。除此之外鼻煙壺表面未加任何裝飾，展示出材料獨有的紋理，如老樹根。 來源：Maurice Fry收藏，美國伊利諾伊州。 Maurice Fry（1931-2019）是一位美國企業家和商人。他在美國陸軍服役期間，在朝鮮戰爭中服役期間發現了亞洲藝術。 1956年，Maurice找到了自己的人生伴侶Elizabeth C. Fry（1934-2022），他們一起踏上了長達數十年的收藏之旅。 品相：品相良好，有磨損和自然瑕疵，輕微填充物，有天然內沁和裂隙，其中一些隨著時間的推移已發展成細小的裂紋。 壺口上有一個淺淺的缺口。自然精美包漿。 壺蓋：玻璃 重量：43.7 克 尺寸：含蓋高76 毫米，頸部直徑17 毫米，壺口直徑6 毫米 文獻比較： 一件相似的宮廷所藏琥珀色鼻煙壺，Chang Lin-Sheng，《故宮鼻煙壺》，台北，1991年，頁252，編號374。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2018年3月19日，lot 144 價格：USD 3,125（相當於今日EUR 3,500） 描述：1780-1850年雀腦琥珀鋪首耳鼻煙壺 專家評論：比較非常相近雕刻風格，裝飾，具有類似的輔面和手柄，以及顏色。請注意尺寸(6.7厘米)。雖然這兩件鼻煙壺可能生產於 1750-1850 年間的不同時期，而我們拍品可能年代較早。
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