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Lot 598
A JAIN SANDSTONE STELE OF A TIRTHANKARA, POSSIBLY MAHAVIRACentral or Northern India, 12th-13th century. Finely carved in openwork with the central tirthankara standing between two pillars atop a square base and below a stepped roof, both carved with stylized lotus petals, a halo behind his head, the serene face with heavy-lidded eyes, broad nose, full lips, and elongated earlobes, the hair in tight curls. The deity is flanked by a vyala standing on a recumbent elephant's head to either side.Provenance: From a noted Belgian private collection.Condition: Excellent condition, commensurate with age. Extensive wear, minor losses, nicks and scratches, signs of weathering and erosion, structural cracks, encrustations.Dimensions: Height 43 cmJinas are depicted in only two poses: kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, the pedestal is missing and therefore an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the Tirthankaras in the kayostarga attitude, and for this reason an attribution seems appropriate.The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India's third great ancient religion and was founded contemporaneously with Buddhism from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of Tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta.The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However a schism arose in around 79 C.E., extensively recorded in their literature, about what constitutes total renunciation. At the time Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.This sculpture not only possibly represents Mahavira but more, it symbolizes man disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all.Auction result comparison: Compare a related sandstone stele of a seated Mahavira, dated circa 10th century, 99.2 cm high, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 74, sold for USD 62,500.
Lot 78
Harold Williamson (British 1898-1972) Standing female nude, signed and inscribed '1st Prize', pencil drawing.54.5cm x 28cm (21.5in x 11in)Footnote:* In 1919 Harold Williamson won a scholarship to the Manchester School of Art where he was a pupil of Adolphe Valette. Like his teacher, he in turn taught at the school (1924-26) before becoming Painting Master at Bournemouth College of Art. In 1947 he returned as Head of Department of Fine Art at the Manchester College of Art and Design where he remained until 1962. A member of the Manchester Academy from 1942, he was made Vice-President in 1961 and an Honorary Member in 1970.Condition report:The drawing is in very good, original condition. There are some small holes and tears around the edges of the sheet and some minor spots of foxing and browning across the paper. There are some minor creases in the paper most notably in the lower half of the sheet. The drawing is framed and glazed.
Lot 1533
Four Josse Davis studio pottery plates, each decorated with nude figures, signature to bases, diameter of largest 21cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 510
Michael Stennett (British 1946-2020) a large number of sketches, drawings, watercolours and oils, various sizes Provenance: The studio of Michael StennettCondition report: One sketchbook containing three sketchesSecond sketchbook with nine illustrationsThird book with 23 pages of geometric designs after Sonia Delaunay and nude studiesFourth book with a single watercolour sketch of a man;together with 24 loose sketches/designs
Lot 636
Frank Brangwyn RA, RWS, RBA (Welsh 1867-1956), A group of six unframed lithographs from the Brangwyn Portfolio, 1927, published by E F d'Alignan and Paul Turpin, to include: Two Indians Leaning on Poles, 37 x 26.5cm; Man With a Nude Torso Holds a Sledgehammer, 38.5 x 28cm; Coming Back from the Hunt, 29 x 43.5cm; Foundry, 36 x 27.5cm; Two Old Beggars, 39.5 x 29.5cm; and Ne'er Do Well, 32 x 40.5cm (6)
Lot 192
TWO CARVED WOODEN NETSUKES: one carved as a nude geisha in tub of water, the other a rat seated on a pile of coins, signed, each approx 5cm high Condition Report : both in good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 33
Anton van Wouw (South African, 1862-1945)The Bushman Hunter signed and dated 'A.v.Wouw 1902' (base); further inscribed 'G. NISINI-FUSE - ROMA -' (base)bronze49 x 30 x 33cm (19 5/16 x 11 13/16 x 13in).Footnotes:ProvenanceA private collection, UK.LiteratureUniversity of Pretoria, Anton van Wouw en die van Wouwhuis (Pretoria, 1981), p. 27 (another edition illustrated)A.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008), pp. 36-38 (another edition illustrated)J Ernst, Anton van Wouw: 'n Biografie deur J. Ernst (Vanderbijilpark, 2006), p. 66 (another edition illustrated)A.J. Werth, PIERNEEF/VAN WOUW: Paintings and sculptures by two South African masters (Cape Town, 1980/81), plate 43 (another edition illustrated).Exemplifying the expressive detail and finely wrought textures associated with Anton van Wouw's masterly sculptural practice, The Bushman Hunter has become one of the artist's most admired works. The small-scale sculpture depicts a male figure in a contrapposto stance, his weight resting on his front leg. The hunter's head is thrust forward as if searching ahead, while his tensed muscles engage in the interplay of action and reaction characteristic of the sculptural scheme. Declaring '[n]ature is the only method that endures', van Wouw pursued a naturalistic mode of representation rooted in his European art training (van Wouw, 1926: p. 9). Indeed, the artist's treatment of the male nude has garnered comparisons to Auguste Rodin's John the Baptist (preaching) (1877-1878), asserting the influence of the French sculptor on van Wouw who had encountered his work while a student at the Academie van Beeldende Kunsten in Rotterdam. Such impetus towards realism represented by The Bushman Hunter positioned the artist at the forefront of the Western sculptural tradition in South Africa. The artist's pursuit of realism is further evidenced in his decision to use highly skilled European foundries to produce his bronzes. He favoured two workshops based in Rome that had developed strong reputations for fine craftsmanship: Galileo Massa and Giovanni Nisini. An inscription to the base of the present sculpture asserts that it was produced by the Nisini foundry. The accomplished casting process highlights van Wouw's masterly approach to capturing the minutiae of the subject's physicality: each forehead wrinkle, fold of skin, and curl upon the head of the hunter are finely articulated in bronze. Van Wouw worked from life, exercising a keen perceptiveness that allowed him to powerfully capture his subjects in diverse moods and situations. Following his emigration from the Netherlands to South Africa in 1889, the artist found himself compelled to represent the indigenous peoples he encountered. The present work depicts Korhaan (also known as Kiewiet) who worked for a year as a servant in van Wouw's household. During this time, he modelled for several works by the artist including a large bust and a body cast of the Bushman made for the Transvaal Museum in Pretoria. Demonstrating the precarity of the lives of the indigenous population in this period, Korhaan was subsequently enslaved and taken to America where he was exhibited in the P T Barnum & Bailey Circus for thirty years.Contextualising small-scale works such as The Bushman Hunter within van Wouw's wider oeuvre, A.E. Duffy opines that they 'do not only attest to Van Wouw's meticulous workmanship but also his profound knowledge of his subject matter' so that 'each individual work of art not only possesses minute detailing but also inner power and monumentality' (A.E. Duffy, 2008: p. 77). Indeed, Van Wouw understood his small sculptures to be a vital part of his oeuvre. It was this aspect of his practice that he chose to foreground in his first solo show which took place in Johannesburg in 1908, following the first presentation of The Bushman Hunter in November 1904 at the premier exhibition of the Pretoria Art Association. Van Wouw's best known sculpture remains central within the artist's body of work, with other Roman casts held in the collections of South African House in London, the Van Wouw Museum in Pretoria, and the Rupert Museum in Stellenbosch.BibliographyA.E. Duffy, Anton van Wouw: The Smaller Works (Pretoria, 2008)Anton van Wouw, 'Sculpture', in The Common Room Magazine (Summer, 1926), pp. 8-11.For further information on this lot please visit Bonhams.com
Lot 35
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Resurrection signed, dated and inscribed 'TRETCHIKOFF/ SA/ 53' (lower left)oil on linen85.5 x 108.5cm (33 11/16 x 42 11/16in).Footnotes:ProvenanceToronto, Eaton's, American and Canadian Tour Exhibition, September 1954;Private Collection of Jack Hammell (acquired from the above exhibition);Private Collection, Ontario;Waddington's, Toronto, 29 November 1984;A private collection.ExhibitionCape Town; Johannesburg; Durban, Stuttafords Department Store, South African Tour Exhibition, September - November 1952San Jose, CA, Rosicrucian Art Gallery, June 1953USA; Canada, American and Canadian Tour Exhibition, 1953-1954.LiteratureV. Tretchikoff and H. Timmins, Tretchikoff (Cape Town, 1969), n.p (illustrated)Vladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205 (illustrated, pp. 134 & 136)Andrew Lamprecht, ed., Tretchikoff: The People's Painter (Jeppestown, 2011), p. 166 (illustrated)Boris Gorelik, Incredible Tretchikoff: Life of an Artist and Adventurer (London, 2013), p. 288 (illustrated, p. 138).In 1952, when Tretchikoff was preparing for his first show in America which would launch his international career, a Cape Town director asked him to star in a film. It would be a documentary set in the artist's studio, showing the birth of an artwork from the first sketches to the painted canvas. Tretchikoff accepted the challenge. Although it meant working under the penetrating gaze of the camera, he decided that he could use the colour film to promote his work in the United States. The resultant documentary, Birth of a Painting, traced the creation of Resurrection (1955).At the time, Tretchikoff was fascinated by the idea that, when dying, the old gives way to the new - a theme explored by the artist in Resurrection. 'The painting was to symbolise the emergence of the soul from the body', recounted Tretchikoff. 'I painted a young girl awaking as if from a dream, the reincarnation of the gaunt, black, crooked body that she had been' (V. Tretchikoff and A. Hocking, 1973: p. 205).Cape Town papers reported that the artist's wife, Natalie, acted as a model for the painting. 'I was so cold, it was a wonder I did not get pneumonia', she told the press. However, the existing footage indicates that another nude model sat for Tretchikoff during the filmed sessions.Resurrection was first exhibited during Tretchikoff's tour of South Africa in 1952. The following year, it was taken to California and included in his show at the Rosicrucian Gallery, San Jose. The startling Resurrection was one of the highlights of this exhibition, and reproductions of the work were available for sale. At all of the public talks and lectures to promote the artist's American debut, Tretchikoff showed the Birth of Painting documentary, asserting the significance of Resurrection within his artmaking practice at this time.The commercial success of the San Jose show enabled Tretchikoff to hold a tour of the United States and Canada, which lasted for nearly two years. In September 1954, among the 52,000 visitors who attended his exhibition at Eaton's Toronto, 'Canada's Greatest Store', was the mining magnate Jack Hammell. He became the first owner of Resurrection.Along with Resurrection, Hammell purchased several paintings by Tretchikoff that day, including the iconic Dying Swan (1949). Later, the artist learnt that this prominent collector had only one painting in his private suite: it used to be a Titian, but had been replaced with Resurrection. The 1969 volume of Tretchikoff's works indicates that the painting subsequently belonged to John McKay-Clements of Haileybury in North-eastern Ontario (now part of Temiskaming Shores). Apparently, the new owner purchased the work from Hammell's heirs after 1958. Resurrection first came to auction in 1984, when it was sold by Waddington's in Toronto. For nearly seventy years, this work, highly valued by the artist, has remained in private collections. We are grateful to Boris Gorelik for the composition of the above footnote.BibliographyVladimir Tretchikoff and Anthony Hocking, Pigeon's Luck (London, 1973), p. 205.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 38
Gerard Sekoto (South African, 1913-1993)Nude Study signed and dated 'G. SEKOTO 60' (lower right)gouache on paper72 x 52cm (28 3/8 x 20 1/2in).Footnotes:ProvenanceA private collection, UK.The present work exemplifies South African artist Gerard Sekoto's interest in illustrating the female form - an impetus particularly evident in the 1960s. The work on paper relates closely to a series of blue heads created by the artist in the early 1960s and a number of female nudes executed in gouache towards the end of the decade. As in these comparable works, Nude Study depicts the head and shoulders of a figure presented in a frontal position. The woman is set against a non-representational background comprised of fluid strokes of pigment. Responding to this lyrical painterly approach, Barbara Lindop suggests that Sekoto's studies of the human form in this period are of an idealised African woman rather than living subjects and therefore 'are more abstracted and iconic than the earlier portrait studies' (Sekoto quoted in Lindop, 1988: p. 55). Certainly, the present work might be conceived as an exercise in form, line, and colour as much as an expression of figurative representation. Sekoto highlights the woman's facial features and jewellery using warm red tones that contrast with the cool blues and buttery yellow hues of her skin. BibliographyBarbara Lindop, Gerard Sekoto (Randburg, SA, 1988).For further information on this lot please visit Bonhams.com
Lot 32
Sir William Russell Flint, RA, PRWS (British, 1880-1969)Reclining nudesigned 'WRussellFlint' (lower right) coloured chalk and blue wash 29.2 x 43.5cm (11 1/2 x 17 1/8in).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
Lot 188
Belleroche (Albert de, 1864-1944). Seated Nude, lithograph, depicting a naked woman sitting, with loose shoulder length hair, her elbows on her knees resting her chin on her hand, signed lower left, some spotting to margins, sheet size 49 x 39cm (19 1/4 x 15 1/4ins), typewritten catalogue note from 1967 to verso including name of artist and name of painting 'nue', some water damage to mount lower left, mounted, framed and glazed (69.5 x 57cm)Qty: (1)
Lot 246
Bishop (Piran, 1961-). Self portrait, 2009, oil on canvas, signed lower right, counter signed and dated verso, 57 x 39.5 cm (22 3/8 x 15 1/2 ins), framed (81.5 x 62 cm), together with Nude woman on a sofa, oil on canvas, signed lower right, counter signed verso, 30.5 x 25 cm (12 x 9 3/4 ins), framed (53 x 48 cm); plus Dressed woman on a sofa, 2008, oil on canvas, signed lower left, counter signed and dated verso, 60.7 x 25 cm (23 7/8 x 9 3/4 ins), framed (84 x 43.5 cm)Qty: (3)
Lot 72
Rembrandt (Harmensz. van Rijn, 1606 – 1669). Male Nude, Seated and Standing ('Het Rolwagentje'), circa 1646, etching and drypoint on paper with a Strasbourg Lily watermark (Hinterding G. c.), a very good impression of New Hollstein’s first state (of eight), with some slipped printing most evident in the lower left corner, with small margins, a few repaired areas towards the corners and at centre of the right sheet edge (mostly visible verso), a few further tiny repairs to sheet edges, pale mottled fox marks, a soft crease at the lower right corner, plate size 19.5 x 13 cm (7 5/8 x 5 1/8 ins), sheet size 25 x 13.8 cm (8 x 5 3/8 ins)Qty: (1)Footnote: ProvenanceL Private Collection, Austria; Sotheby’s London, Old Master Prints, 30 June 2021, lot 81.Literature: Bartsch, Hollstein 194; New Hollstein 233, i/viii; Hind 222.
Lot 375
Pictures and Prints - English School (19th century), The Gate Hangs Well, Nottingham, oil on board, 20cm x 14cm; F. Farr, The Cottages, signed, oil on board, 17cm x 24.5cm; Harrison, Nude Study, signed, dated 1882, watercolour, 12.5cm x 6.5cm; English School, Oxton Village, oil on canvas; Huggins, Full Sail, signed, oil on board, 19cm x 24cm, etc (6)
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