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Lot 257
Spence (Joseph) Anecdotes, Observations, and Characters, of Books and Men, edited by Samuel Weller Singer, first edition, one of 50 large paper copies, extra illustrated with the insertion of c.190 additional pieces including an A.L.s. from Singer to William Upcott, 2 fine large original monochrome watercolours of Strawberry Hill by an anonymous hand, and the rest engravings, mostly portraits of writers, artists and musicians etc., mainly British, many mezzotint including over 15 by James Faber after Kneller's portraits of members of the Kit-Cat Club, others by John Smith, Edward Cooper and others, some excellent fine impressions of early portraits, but most trimmed close and tipped into blank leaves, near contemporary red morocco, gilt, by Rivière, spine gilt in compartments with floral tools, g.e., a little rubbed, joints slightly worn and with some splits, folio, 1820.⁂ One of only 50 copies printed on large paper with the view to extra-illustration. Portraits include Shakespeare, Pope, Locke, Newton, Wren, Defoe, Swift, Vanbrugh, Addison, Congreve, Henrietta Maria after Van Dyck, Handel by Houbraken, Newton with the Prism after Romney, Lord Burlington & many others.
Lot 39
Buchanan (Robertson) Practical Essays on Mill Work and other Machinery, edited by George Rennie, 2 vol. including Atlas (8vo & folio), third edition, 64 engraved plates on 42 sheets, one folding, foxing, text modern half morocco, Atlas contemporary morocco-backed cloth, rubbed and stained, 1841 § Rankine (W.J.Maquorn) The Cyclopaedia of Machine and Hand-Tools...and an Essay on the Puddling of Iron by St.John Vincent Day, first edition, 100 plates, many double-page, 2 folding letterpress tables, some light foxing, hinges broken, contemporary half morocco, rubbed, 1869 § Engineer and Machinist's Assistant (The), 2 vol. including plate vol., plate vol. with title in engraved decorative border, engraved plates, many double-page, some foxing, a few browned, bookplate of John William Pease, contemporary half roan, rubbed, Glasgow, Edinburgh & London, 1854 § Engineer and Machinist's Drawing-Book (The), engraved frontispiece, additional vignette title and 70 plates on 68 leaves, 2 double-page, 2 printed in colours, modern green morocco-backed cloth, red roan label, Glasgow, Edinburgh & London, 1864, v.s. (6)
Lot 7186
A collection of Britains Floral Garden range items to include two wheelbarrows, lawn mower, sprinkler, two lawn rollers, two cold frames, hose reel, apple tree, flower beds, gates, fencing, walls, pavng, lawn, pergola, pond, rockery, swing seat, table and chairs, four planting tools together with a small quantity of figures and fir trees
Lot 119
Bromsgrove Guild of Applied Arts - A fireside compendium in the Arts and Crafts style, the copper and brass rectangular spill holder with tools suspended from hooks on each face, unmarked, height 33cm. Provenance - Commercial manager and former metallurgist of The Bromsgrove Guild, thence by descent.
Lot 16
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Female Form ebonysculpture: 81 x 16.5 x 14cm (31 7/8 x 6 1/2 x 5 1/2in) including base: 85 x 23 x 23cm (33 7/16 x 9 1/16 x 9 1/16in).Footnotes:Enwonwu understood sculpture to be an essential component of his artistic practice. In an interview conducted on the occasion of a touring exhibition of the artist's work in America in the 1950s, he asserted, 'I am essentially a sculptor, and it is in this art that I feel I can talk to any artist, no matter what race or color. My father was an eminent sculptor and I inherited this wonderful art from him' (Ogbechie, 2008: p. 30). His father, Odigwe Emeke Enwonwu, took up work as a full-time sculptor following his retirement from the Royal Niger Company (RNC) where he has worked as an assistant to ship engineers. Although Enwonwu was only three when his father died, he felt an affinity with sculptural techniques which he ascribed to his artistic familial heritage. He inherited his father's tools and familiarised himself with the techniques of indigenous Igbo (and other Nigerian) sculpture which he continued to draw upon throughout his artistic career.The present sculpture evidences the techniques that Enwonwu acquired during his tenure teaching at Edo College in Benin City (1941-1944). Sylvester Ogbechie notes that Enwonwu 'saw the sojourn there as a spiritual homecoming' (Ogbechie, 2008: p. 57). The rich cultural traditions of the Edo Kingdom of Benin offered an indigenous African cultural heritage fit to undermine colonial European claims of cultural superiority. Enwonwu undertook an apprenticeship with Benin sculptors who taught him the lost-wax technique of bronze sculpture and how to carve ebony.In the present work, the abstract lines of the cropped female form are directed by the properties of the precious wood, demonstrating Enwonwu's masterful handling of his chosen materials. The long, sinuous lines of the figure's elongated legs are elegantly crossed to emphasise the curve of her hips. The resultant exaggerated feminine form recalls Enwonwu's glorification of the female body across his oeuvre as a symbol of nationalistic regenerative power as Nigeria strove to establish its own postcolonial identity in the mid-twentieth century. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of 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
Lot 78
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Mask ebony 121 x 14 x 6.5cm (47 5/8 x 5 1/2 x 2 9/16in).Footnotes:ProvenanceAcquired from an exhibition in London in the 1950s;A private collection, London;Acquired from the above by the present owner's family in 2011;Thence by direct descent to the present owner in 2020;A private collection.The elongated form of the present work recalls the lengthened shape of traditional wooden Fulani masks demonstrating Enwonwu's ongoing interest in synthesising the indigenous traditions of West Africa with his own modernist art practice. Hand-carved from ebony, the mask draws upon the skills the artist believed he acquired from his father, who was also a sculptor, as a young boy.The surface of the present work is characterised by its roughly hewed texture. Significantly, Enwonwu pursued an ongoing project of creative experimentation through his artistic practice which led to a variety of finishes and technical approaches to the artmaking process. Levied with accusations regarding his technical skill in relation to the loose style of his 1949 painting Fulani Girl of Ropp, he asserted: 'This painting can be appreciated in strict aesthetic terms, if I may use the language, and from the standpoint of art. The technique may be disappointing to very good painters but technique in painting is not the criterion for knowing what is good, bad or indifferent in art. Cézanne was a bad technician but he is among the greatest of the Impressionists' (Ogbechie, 2008: p. 107).Similarly, the unpolished surface of the present work does not gesture to the technical failings of the artist, nor does it indicate that the work is unfinished. Instead, it marks Enwonwu's pursuit of new possibilities through his approach to sculptural form. Ogbechie explains that the artist had a deep 'fascination with the textural qualities of wood' and this informed the wide variety of works that he produced in the medium (Ogbechie, 2008: p. 112). Ebony was a particularly meaningful material within the artist's practice, and he was absorbed by 'the specific effects he achieved through use of indigenous African tools such as the adz' (ibid). The present work thus stands as a powerful example of Enwonwu's synthesisation of traditional West African techniques and materials with his own distinctly modern practice. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of 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
Lot 151
* Chinese Embroidered Robe. A woman's silk informal robe, late Qing Dynasty, dark blue silk robe with long wide sleeves, hand-embroidered overall using polychrome silks, with a design of large medallions of paeonies interspersed with other floral motifs and large moths, sleeves edged with a band of gold silk embroidered with urns and vases of flowers, and a ceramic pot of rolled paper scrolls and calligraphy brushes, hem with paeony flowers disposed at intervals on a lishui stripe border, worked in satin stitch and long and short stitch, with occasional back-stitch and couched gold metallic thread outlines, some small losses to embroidery, lined with pale blue silk (with mottled fading, and some soiling and slight perishing at neck), centre opening, with 3 toggle fasteners, length 108.5 cm (42.75 ins), width cuff to cuff 135 cm (53 ins) QTY: (1)NOTE:Undoubtedly a female calligrapher's robe, denoted by the relatively small size, and the iconography. The paeony flower, so predominant here, symbolises female beauty and love as well as longevity, wealth and status. The image of the tools of a scribe is much less commonly seen, and adds another dimension to our knowledge of the wearer of this robe. There is a long history of female calligraphers in China, but such women have often been overlooked over the centuries, and passed over in favour of their more dominant male counterparts.
Lot 95
A group of silver and white metal, comprising: a silver etui, hallmarked London, date marks rubbed, engraved Simpson 36? Strand to underside, containing tortoiseshell knives and tools, 6.4cm high; a Continental cigarette case, stamped 800, the exterior chased with scrolling foliage, 11.7cm x 8.5cm; four pairs of white metal sugar tongs with all over wreath decoration, 9.3cm long; a white metal etui with c-scroll repousse decoration, containing scissors and other implements, 9.2cm high; a white metal and faux lapis lazuli mounted etui, containing scissors and pen knife, with c-scroll decoration, 9cm high; a shagreen and white metal etui, late 19th century, with scrolling foliate decoration, empty, 9.5cm high; and a white metal filigree cigarette case, with pierced scrolling decoration, 9.1cm wide (10)Please refer to department for condition report
Lot 191
A Wedgwood Pottery Garden Implements beaker mug designed by Eric Ravilious, printed in black on pink lustre with a group of garden tools in a barrel, two Wedgwood 'Alphabet' mugs, a 'Garden' jug, a 'Persephone' jug and a collection of Wedgwood tableware by Eric Ravilious, mainly Persephone, printed factory marks, minor damages, 10.5cm. high (a lot)
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