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Lot 16
Set of beautifully decorated shave tools including: a Moffritz ceramic shave cup Made in England and Moffritz backstamp with soap bar, a Rooney soap holder Made in England and Rooney backstamp with soap bar, a shave brush, and a Palmolive shave stick container. Largest item measures 6.25"L x 4"W x 3.5"H. Dimensions: See DescriptionCondition: Age related wear.
Lot 156
A wooden case with a black velvet interior that holds 14 expertly crafted tools designed for creating screw threads on blank stock or within holes. Marked Wells Bros Company. Dimensions of the case: 9.75"L x 4.75"W x 1.25"H. Dimensions: See DescriptionManufacturer: Well Brothers CompanyCountry of Origin: United StatesCondition: Age related wear. Some tools unmarked.
Lot 12
El Anatsui (Ghanaian, born 1944)Migrations, 1992 signed and dated 'EL/ 92' (lower left of panel 1); each panel is numbered from 1-6 in chronological order (verso)carved, incised and painted wood62 x 58 x 2cm (24 7/16 x 22 13/16 x 13/16in).(in 6 panels)Footnotes:ProvenanceAcquired directly from the artist;A private collection.The theme of migration is evidenced in the present work through the very act of its creation. El Anatsui uses a chainsaw and an oxyacetylene torch to create his wooden sculptures before applying paint to specific fragmented areas of specific panels. Early in his practice, the chainsaw was employed solely as a tool to prepare blocks of wood for carving in the studio. However, during the several months in 1980 that he spent at the Community of Arts, Cummington in Massachusetts, El Anatsui discovered that the power tool might be used to cut rough designs into wood which could then be further manipulated, smoothed and blackened using the torch. El Anatsui assigns the metaphorical correlation between the chainsaw cutting through the wood just as European countries carved up the African continent in the nineteenth century colonisation era. In turn, the scorched surfaces and jagged edges of the work caused by the cutting and burning actions of the power tools echo the violence enacted by these colonial agents.Countering the devastation of these destructive forces, El Anatsui incorporates different coloured woods in Migrations to celebrate the diverse cultures and ethnicities of the African continent. The patterns inscribed and burnt onto the wooden slats borrow from a diverse range of mark-making traditions in Africa. These designs extend across the breaks between the individual slats of wood, symbolising the movement of populations across borders.Reflecting on his sculptural practice in 2007, the artist explained 'it's not about aesthetics only. The work is about making a statement beyond what the eyes can see, it has something to give to the mind as well' (El Anatsui quoted in Vogel, 2012: p. 83). In Migrations, process and aesthetics are united in the artist's exploration of mobilised populations. BibliographySusan Mullin Vogel, El Anatsui: art and life (Munich, 2012).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 71
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).For further information on this lot please visit Bonhams.com
Lot 217
A VICTORIAN SET OF THREE GILT METAL HANDLED STEEL FIRE TOOLS CIRCA 1860-1880 Urn handles shovel 74cm long Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Metalwork with numerous areas of rust and will require thorough clean before use. Hinge points also with rust. Variance in gilding colour to handles- suggesting some have been repainted Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 1481
Vintage Catalogues, a collection of catalogues to include 1910 Holzapfels Compositions Testimonials (an attractive Art Nouveau catalogue filled with images of ships and testimonials for Holzapfels paints), Souvenir of Port Sunlight circa 1920, Aga (2 x 1940s), Sun Engraving Co., Stanton Concrete, Ercol, Stanley Tools, Economic Electric Ltd, Sieray Lamps, Venner Time Switches etc. (gen gd)
Lot 710
BRONZE AGE GOLD RING-MONEY, two Penannular rings of circular section of solid gold with a high purity. (7.7g)The social and legal structure of Pre-Christian society was highly regimented and followed a justice system based on reparation. This usually involved payment by the perpetrator to the victim and their family. The nature of these repayments varied with records from the period detailing the exchange of slaves or cattle as well as smaller items such as tools and ornaments. Gold ring-money would be amongst these exchanges, as items they varied in quality and standard which would suggest that they lacked a fixed denomination as expected in the monetary exchange of modern society. However, solid gold pieces such as these present examples would carry significant value.
Lot 318
A copper and wrought iron mounted firescreen in Arts & Crafts style, early 20th century; shield shaped and convex, with a central applied brass fleur-de-lys; beneath twin ovoid finials, 76cm high, 49cm wide; and three early 20th century brass fire tools, comprising a shovel and tongs set and an associated toasting fork
Lot 227
Collection of neolithic flints and stoneware items including a quantity of Neolithic flint and stone hand tools, arrowheads, a loom weight, scrapers, etc and and three books including the British Museum Guide to the Antiquities of the Stone Age dated 1902 and the British Museum Flints and Illustrated Manual of the Stone Age for Beginners dated 1928
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