This auction is live!
You need to be registered and approved to bid at this auction.
Watch the auctionThis auction is closed!
It is no longer possible to bid at this auction.
You are registered for this auction
You are now approved to bid at this auction.
Your auction registration is now pending
You have successfully registered for this auction, pending approval to bid. Please check your email for further information.
Your auction registration has been declined
Please contact the auctioneer for more information.
Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
28 South Street: The Mayfair Home of Fatima & Eskandar Maleki
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Watch the video and learn more....!
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
03 Sep 2024: 10:00 - 16:00
04 Sep 2024: 10:00 - 16:00
05 Sep 2024: 10:00 - 16:00
Viewing in Newbury (full sale): see below
Auction dates
Sep 25, 2024 10:30 AM BST
Viewing dates
Sep 20, 2024 10:00 AM - 04:00 PM BST
Sep 21, 2024 10:00 AM - 03:00 PM BST
Sep 22, 2024 10:00 AM - 03:00 PM BST
Sep 23, 2024 10:00 AM - 04:00 PM BST
Sep 24, 2024 10:00 AM - 04:00 PM BST
Sep 25, 2024 09:00 AM - 12:00 PM BST
|
Auction currency
|
GBP |
|
Buyer's premium
|
26 % (exc. Sales tax) |
|
Accepted cards for registration
|
|
|
Accepted cards for payment
|
|
|
Other payment methods
|
Featured lots
We found 58 items matching your search
Refine results
Filter by
Estimate
Category
Brand
Item Type
Sale Section
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
7,000 - 10,000 GBP
WALLERANT VAILLANT (DUTCH 1623-1677)
PORTRAIT OF A YOUNG WOMAN IN WHITE DRESS AND GREEN SHAWL
Oil on canvas
Signed and dated `W. Vaillant F. 1671' (on basin, lower left)
75 x 61cm (29½ x 24 in.)
Provenance:
Johnny van Haeften
Sale, Dorotheum, Vienna, 6th December 1990, lot 153
Literature:
J.G.C.A. Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, Antwerp, 1997, p.49, illustrated
Present picture listed in archives of RKD as no. 132496 (As Wallerant Vaillant)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
CIRCLE OF BAREND GRAAT (DUTCH 1628-1709)
DOUBLE PORTRAIT OF TWO FIGURES AS VENUS AND CUPID
Oil on canvas
130 x 162cm (51 x 63¾ in.)
Provenance:
Sale, Dorotheum, Vienna, 14 March 1991, lot 130, as Barend Graat
Literature:
M. van der Hut, Barend Graat 1628-1709. Zijn Leven en Werk, 2016, pp. 150-151, cat. no. B-P 8, under works of uncertain attribution
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
SPANISH SCHOOL (17TH CENTURY)
PORTRAIT OF A LADY WITH SHACKLE OR CHAIN AT HER ARM
Oil on canvas
102 x 73cm (40 x 28½ in.)
Provenance:
Sale, Dorotheum, 15 March 1990, lot 123, as School of Alonso Sanchez Coello
The curious inclusion of handcuffs on the sitter's left arm is likely to indicate that this is a marriage portrait. Perhaps playing on the Spanish words esposa (wife) and esposas (handcuffs), deriving from the Latin spondere (to bind, pledge or promise), the symbol denotes the sitter's commitment to the indissoluble marital bond. The clothing and jewellery suggest the portrait was probably painted in the late 17th century. Prominent bow-knot ( lazo ) brooches worn in the centre of the chest, such as the one in the portrait, were in vogue on the Iberian peninsula from the mid seventeenth century. A close example is the gold and emerald encrusted pendant displayed at the V&A (M.138-1975).
For a further study on jewels in Spain see: Muller, Priscilla E. 2012. Jewels in Spain, 1500-1800 . [New York, N.Y.]: Hispanic Society of America: Centro de Estudios Europa Hispánica : Center for Spain in America, c2012
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
NICOLAES MAES (DUTCH 1634-1693)
PORTRAIT OF COLONEL RUPERT BRIDGE IN ARMOUR, WITH A BLACK PAGEBOY
Oil on canvas
121 x 97cm (47½ x 38 in.)
Provenance:
Sale, Christie's, London, Important English Pictures , 22 November 1985, lot 97A
Sale, Dorotheum, Kunstauktion 1631 Alte Meister , 7 November 1991, lot 107
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
14
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
AFTER FRANS POURBUS THE YOUNGER (DUTCH 1570-1622)
PORTRAIT OF HEINRICHS IV VON FRANKREICH IN ARMOUR WEARING THE ORDER OF THE HOLY SPIRIT
Oil on canvas
42 x 27.5cm (16½ x 10¾ in.)
Provenance:
Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611 , 14 March 1991, lot 156, as Attributed to Frans Pourbus The Younger
After the picture in the Louvre, Paris
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,000 GBP
NORTH ITALIAN SCHOOL (18TH CENTURY)
FLORA
Oil on canvas
49 x 38cm (19¼ x 14¾ in.)
Provenance:
Sale, Dorotheum, possibly 15 March 1990, lot 29, as North Italian School 18th Century
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
16
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
STUDIO OF MARTIN VAN MEYTENS II (SWEDISH 1695-1770)
PORTRAIT OF KAISER FRANZ JOSEPH I; AND KAISERIN MARIA THERESA
Oil on canvas, a pair
Each 146 x 116cm (57¼ x 45½ in.) (2)
Provenance:
Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611 , 14 March 1991, lot 74, as Attributed to Martin van Meytens II
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
STUDIO OF ANTON EINSLE (AUSTRIAN 1801-1871)
EMPEROR FRANZ JOSEPH I, EMPEROR OF AUSTRIA, KING OF BOHEMIA, KING OF CROATIA, AND APOSTOLIC KING OF HUNGARY
Oil on canvas, oval
Bears indistinct signature (lower right, under mount)
66 x 66.5cm (25 x 26 in.)
Provenance:
Sale, Dorotheum, Antiquitaten , 14 November 1991, lot 199, as Attributed to Anton Einsle
The painting derives from the full-length portrait by Anton Einsle of 1851 held at the Österreichische Galerie Belvedere, Vienna
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
AFTER FRANS FRANCKEN II
THE SEVEN ACTS OF MERCY
Oil on copper
67.5 x 85cm (26½ x 33¼ in.)
Provenance:
Sale, Dorotheum, Gemalde des 19m Jahrhunderts , 12 June 1990, lot 186, as School of Frans Francken the Younger
After the picture in the Beaux-Arts de Carcassonne, France
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
JAN VAN HUCHTENBURGH (DUTCH 1647-1733)
BATTLE SCENE WITH MOUNTED COMBAT BETWEEN IMPERIAL TROOPS AND TURKS
Oil on canvas
68 x 90cm (26¾ x 35¼ in.)
Provenance:
Sale, Dorotheum, Alte Meister , 2 June 1993, lot 129, as Jan Van Huchtenburgh
Jean Francois et Philippe Heim, Paris
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
NEAPOLITAN SCHOOL (17TH CENTURY)
SCENES FROM THE LIFE OF JOSEPH
Oil on canvas, a pair
Each 112 x 145cm (44 x 57 in.) (2)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,000 - 2,000 GBP
CIRCLE OF JOSEPH-LAURENT MALAINE (FRENCH CIRCA 1738-1812)
STILL LIFE OF ROSES, LILAC, AND OTHER FLOWERS IN A VASE ON A STONE LEDGE
Oil on canvas
33 x 47cm (12 x 18½ in.)
Provenance:
Sale, Dorotheum, unknown date, lot 207, as Josse Francois Joseph Le Riche
Literature:
Michel et Fabrice Fare, La Vie Silencieuse en France. La Nature Morte au XVIIIieme Siècle , Fribourg, 1976, illustrated n. 345 as Josse Francois Joseph Le Riche
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,000 GBP
WARNARD VON RYSEN (DUTCH CIRCA 1625-1665)
REST ON THE FLIGHT INTO EGYPT
Oil on canvas
Signed with initials (lower left)
22 x 30.5cm (8½ x 12 in.)
Provenance:
Sale, Dorotheum , Gemalde des 19, Jahrhunderts , 12 June 1990, lot 221
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
FOLLOWER OF PHILIPS WOUWERMAN
A HARBOUR SCENE WITH FIGURES ON HORSEBACK
Oil on metal
23 x 32cm (9 x 12½ in.)
Provenance:
Sale, Dorotheum, Gemalde Des 19, Jahrhunderts , 12 June 1990, lot 220
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,500 GBP
HENDRIK VERSCHURING I (DUTCH 1627-1690)
SOLDIER IN ARMOUR ON HORSEBACK OUTSIDE A WALLED TOWN WITH ATTENDANTS AND A DOG
Oil on panel
Signed (lower centre)
40.5 x 58cm (15¾ x 22¾ in.)
Provenance:
Sale, Dorotheum, Alte Meister , 15 March 1990, lot 1
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
FOLLOWER OF SEBASTIANO RICCI
A HOLY BISHOP DRIVES OUT THE DEVIL
Oil on canvas
88 x 128cm (34½ x 50¼ in.)
Provenance:
Sale, Dorotheum, Alte Meister , 15 March 1990, lot 98, as Circle of Sebastiano Ricci
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
20,000 - 40,000 GBP
DUTCH SCHOOL (16TH CENTURY)
A PAIR OF PORTRAITS OF A GENTLEMAN AND A LADY
Oil on panel
Each 90 x 68.5cm (35¼ x 26¾ in.) (2)
Provenance:
Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611 , 14 March 1991, lot 69, as Bartholomaus Bruyn the Elder
By directly gazing at the viewer the two sitters create an intimate dialogue, which subtly communicates their character. These two excellent portraits are datable, on stylistic grounds and the worn clothing, to the fourth decade of the sixteenth century. Albeit the identity of the sitters remains unknown, the coats of arms present in the works may relate to those of Egmond (for the man) and Gelre (for the woman), two families belonging to the Dutch province of Gelderland.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
FOLLOWER OF KAREL BREYDEL
BATTLE SCENES WITH MEN ON HORSEBACK
Oil on panel, a pair
Each 15 x 22cm (5¾ x 8½ in.) (2)
Provenance:
Sale, Dorotheum, Gemalde Des 19, Jahrhunderts , 12 June 1990, lot 218, 219
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
ATTRIBUTED TO FRANCOIS XAVIER HENRI VERBEECK (DUTCH 1686-1756)
A PAIR OF INTERIOR SCENES WITH REVELLERS
Oil on panel
Each 39 x 45cm (15¼ x 17½ in.) (2)
Provenance:
Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611 , 14 March 1991, lot 136, as Francois Xavier Henri Verbeeck
Several renditions of these compositions are known, the prime versions were most likely created by Balthasar van den Bossche. See RKD 293175.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
FOLLOWER OF CARL ANDREAS RUTHART
FIGURES AND ANIMALS IN A COURTYARD
Oil on canvas
74 x 94.5cm (29 x 37 in.)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
15,000 - 25,000 GBP
CIRCLE OF MARTEN DE VOS (FLEMISH 1532-1603)
THE WISE AND THE FOOLISH VIRGINS
Oil on panel
96 x 124cm (37¾ x 48¾ in.)
Unframed
Provenance:
Sale, Dorotheum, Gemalde des 19, Jahrhunderts , 12 June 1990, lot 163
The format of the present composition suggests it may have been intended as an over-door (Sopraporta). The composition has similarities to Maerten de Vos Allegory of the Seven Liberal Arts (Sothebys, London, 7July 2005, Lot 107)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
KAREN KILIMNIK (AMERICAN B. 1955)
THE ROYAL LITTLE RED RIDING HOOD, 2007
Giclée print in colours with hand-applied glitter
39.5 x 31.5cm (15½ x 12¼ in.)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
CIRCLE OF EDUARD RITTER (AUSTRIAN FL. 1808-1853)
THE SPRUDEL AT CARLSBAD
Oil on panel
25.5 x 31cm (10 x 12 in.)
Provenance:
Sale, Dorotheum, Landschatten des 19. und 20. Jahrhunderts , 8 February 1990, lot 104, as Attributed to Eduard Ritter
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
ALFRED (A. STONE) STEINACKER (HUNGARIAN 1838-1914)
HUNTING IN THE SNOW
Oil on panel
Signed 'A. Stone' (lower left)
14.5 x 30.5cm (5½ x 12 in.)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
DUTCH SCHOOL (17TH CENTURY)
SHEEP AND GOATS IN A LANDSCAPE
Oil on panel
25 x 34cm (9¾ x 13¼ in.)
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
MANNER OF WOUWERMAN
TWO FIGURES WITH HORSES OUTSIDE A TAVERN
Oil on panel
Bears signature 'A CUYP [?]' (lower left)
35 x 48cm (13¾ x 18¾ in.)
Provenance:
Sale, Kunsthaus Lempertz, Alte Kunst , 27 May 1991, lot 48, as Antoon Goubau
Sale, Dorotheum, Kunstauktion 1631 Alte Meister , 8 November 1991, lot 283, as Antoon Gaubau
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
ATTRIBUTED TO JULIUS SCHNEIDER (GERMAN 1824-1879)
PORTRAIT OF MAN WITH A VIOLIN
Oil on canvas
Signed and dated '1851' (lower left)
93.5 x 74cm (36¾ x 29 in.)
Provenance:
Sale, Dorotheum, Vienna, Bilder Des 19. Jahrhunderts Antiquitaten , 28 February 1991, lot 50, as Julius Schneider
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
8,000 - 12,000 GBP
JACOB KASSAY (AMERICAN B. 1984)
UNTITLED
Acrylic on canvas
Signed and dated 11 to wooden support (verso)
153 x 213cm (60 x 83¾ in.)
Provenance:
Maruani Mercier, Knokke
Acquired from the above in 2013
This important artist can be seen at the Collezione Maramotti in Reggio Emilia, Italy
Born in New York and based in New York City, artist-critic Jacob Kassay takes a cerebral, minimalist approach to creation. He is represented by 303 Gallery and has exhibited at ICA London, MCA Chicago, and the MFA Boston. Known for his innovative treatment of flat surfaces, Kassay has turned to mirror-like acrylic and canvas scraps in the service of his post-conceptual practice. In its total abstraction, the present work calls attention to the blurred lines between art and the everyday. Were it not for the frame, what would separate Kassay's canvas from the wall behind? Yet, Untitled is not so much the 'zero point' of painting in the mould of Kazimir Malevich's Black Square as a restrained example of decorative art. In constant dialogue with its environment, Untitled catches the light of a room and alters it, adding new dimensions to an interior space.
Condition Report:
The surface is white and matte. The application of paint is visible in raking light which does produce a slight sheen but the overall effect is matte. There are no obvious condition issues.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ MICHAEL WILKINSON (BRITISH B. 1965)
SEDITIONARIES, NO. 5, 2010
Mixed media with collage on canvas with cut-out
190 x 170cm (74¾ x 66¾ in.)
Unframed
This work is accompanied by a certificate of authenticity signed by the artist.
Provenance:
The Modern Institute/Toby Webster Ltd., Glasgow
Acquired from the above in 2011
The erudite and politically engaged Michael Wilkinson draws inspiration from events in modern history. Born in Merseyside and based in Glasgow, Wilkinson has exhibited internationally, including at Venus Over Manhattan, New York, and Le Temple, Paris. Karl Marx, Guy Debord, Jacques Lacan and Scritti Politti are a selection of people that form Wilkinson's diverse influences are united by a controversial, radical impulse that infuses his work. His unconventional materials - verdigris, beeswax, Lego - are elevated to a form of powerful visual expression, not least in his layered works. Wilkinson often places a monochromatic filtered photograph against a loose, abstract backdrop, as in the Seditionaries canvases. The present work pays homage to Seditionaries , previously known as Sex , a punk boutique in Chelsea managed by Vivienne Westwood and her then-partner Malcom McLaren in the 1970s. McLaren's decision to model the shop after the Dresden bombings reflects a revolutionary impulse that Wilkinson shares. Wilkinson's '68 Series captures the revolutionary fervour of May 68, while the etched mirrors featured in Dresden call attention to the destruction brought about by war. The digital print featured here likely represents a blown-up photograph of a protester, whose disruptive influence is mirrored by the scraped acrylic paint. Ultimately, this work forms part of Wilkinson's investigations into the specificity of history, marked as it is by change and unrest.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
30,000 - 50,000 GBP
JULIAN SCHNABEL (AMERICAN B. 1951)
UNTITLED (MONJAS DE CALLE CON BUEN OJO)
Oil and resin on rubberised fabric
213.5 x 152.5cm (84 x 60 in.)
Painted in 1993.
Provenance:
Waddington Galleries Ltd., London
Acquired from the above in 1996
Painter-director Julian Schnabel has enjoyed international renown for his powerful aesthetic vision. Among the first artists represented by Mary Boone, Schnabel has since exhibited at Pace Gallery, the Art Gallery of Ontario, and Museo Correr. His large-scale works tend to incorporate an element of collage, as the traditional marriage of oil and canvas is adulterated with an admixture of resin, textiles, and even ceramic shards. The present picture, which reads 'Monjas de calle con buen ojo', or 'Street nuns with a keen eye', belongs to a series by the same title. A typically obscure juxtaposition of concepts, this imposing canvas reflects Schnabel's preoccupation with religion and literature. His decisive mark-making allows for striking visual effects: the calligraphy of 'ojo' for example, resembles a face, while the sinuous dividing line suggests the form of an amphora. Schnabel treats his thematic concerns with parity: the holy and the profane, tradition and modernity, abstraction and figuration.
Condition Report:
The rubberised fabric surface is slack with associated creases most notable to the extreme edges. There is some puckering to the right edge possibly caused by the thick pigment applied in that area. There is some rubbing to the extreme framing edges with some associated loss to the point of the lower left corner. There is a hole to the lower left corner approx. 20cm up from the lower edge, this is likely part of the artist's intent.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ MICHAEL WILKINSON (BRITISH B. 1965)
BLACK SEDITIONARIES, 3, 2011
Mixed media with collage on canvas with cut-out
Signed, titled and dated 2011 to stretcher (verso)
190 x 170cm (74¾ x 66¾ in.)
Unframed
Provenance:
The Modern Institute/Toby Webster Ltd., Glasgow
Acquired from the above in 2011
The erudite and politically engaged Michael Wilkinson draws inspiration from events in modern history. Born in Merseyside and based in Glasgow, Wilkinson has exhibited internationally, including at Venus Over Manhattan, New York, and Le Temple, Paris. Karl Marx, Guy Debord, Jacques Lacan and Scritti Politti are a selection of people that form Wilkinson's diverse influences are united by a controversial, radical impulse that infuses his work. His unconventional materials - verdigris, beeswax, Lego - are elevated to a form of powerful visual expression, not least in his layered works. Wilkinson often places a monochromatic filtered photograph against a loose, abstract backdrop, as in the Seditionaries canvases. The present work pays homage to Seditionaries , previously known as Sex , a punk boutique in Chelsea managed by Vivienne Westwood and her then-partner Malcom McLaren in the 1970s. McLaren's decision to model the shop after the Dresden bombings reflects a revolutionary impulse that Wilkinson shares. Wilkinson's '68 Series captures the revolutionary fervour of May 68, while the etched mirrors featured in Dresden call attention to the destruction brought about by war. The digital print featured here likely represents a blown-up photograph of a protester, whose disruptive influence is mirrored by the scraped acrylic paint. Ultimately, this work forms part of Wilkinson's investigations into the specificity of history, marked as it is by change and unrest.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
20,000 - 40,000 GBP
λ FRIEDRICH KUNATH (GERMAN B. 1974)
ALL THE SLEEVES ARE BROWN AND THE TIE IS GREY (CALIFORNIA DREAMING), 2011
Charcoal, Indian ink, lacquer and watercolour on canvas
247 x 226cm (97 x 88¾ in.)
Unframed
Provenance:
White Cube, London
Acquired from the above in 2011
Exhibited:
London, White Cube, Friedrich Kunath , The Most Beautiful World in the World
15 April - 4 June 2011
German-born Friedrich Kunath has equal recourse to popular and high culture in his tragicomic works. Kunath has exhibited at Art Basel, Modern Art Oxford, and White Cube, London. Often surreal, Kunath's works construct and inhabit universes of bright colour and forbidding black, inspiring hope as much as they threaten the viewer with loneliness. Characteristically, The sleeves are brown and the tie is grey features a solitary figure lost at sea, a scene infused with Romantic sensibilities. The picture draws its title from the celebrated refrain of California Dreamin' - 'All the leaves are brown / And the sky is grey' - with slight modifications, reproduced in cursive text on the work itself. Kunath has updated the song's autumnal vocabulary as if to evoke notions of oppressive corporate uniformity. The artist's relocation to Los Angeles from East Germany may have informed this yearning for a better, brighter life, though the insistent pathos of his work suggests this dream was never fully realised - perhaps the grass is, after all, always greener on the other side.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
NED VENA (AMERICAN B. 1982)
UNTITLED
Rubber on linen
Both signed and dated 2012 to overlap (verso)
Each 213.5 x 122cm (84 x 48 in.) (2)
Unframed
Executed in 2012.
Provenance:
Bugada & Cargnel, Paris
Acquired from the above in 2012
The meticulous creative process of Brooklyn-based Ned Vena combines non-traditional materials with technology. His abstract works have been exhibited at Société Berlin, White Columns New York, and the Contemporary Art Museum St. Louis. Characterised by a mixture of graphic clarity and intricate patterning, Vena's visual language oscillates between the decorative and the everyday. The right-hand panel of Untitled recalls the early 'Black Paintings' of Frank Stella - a lifelong influence - in its colouring and chevron arrangement. Vena reprised this latter motif in ink across a 2012 solo exhibition at Clifton Benevento, New York. His handling of pigment in these purple works introduced an element of entropy; here, on the other hand, his mark-making is characterised by an eloquent precision. In something of a departure from Vena's usual iconography, the canvas to the left features an unwinding film spool. Its circular form recalls the artist's hypnotic target paintings, though the unambiguous imagery lends itself more readily to interpretation. By alluding to film, and thus the performative nature of composition, Vena calls attention to a creative process that - given the reel's circumscription by the canvas edge - is still ongoing.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ MICHIEL CEULERS (BELGIUM B. 1986)
RIEN DE PLUS QU'UN THEATRE D'IDEES FLUCTUANTS ET DES ECHOS DE DEVELOPMENTS FUTURS 2013-2014
Oil, spray paint and collage on canvas
Signed, titled and dated 2013-2014 (verso)
249 x 200cm (98 x 78½ in.)
Provenance:
Wedel Fine Art, London
Acquired from the above in 2014
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
12,000 - 18,000 GBP
NICOLAES MAES (DUTCH 1634-1693)
PORTRAIT OF A GENTLEMAN; AND PORTRAIT OF A LADY
Oil on canvas, a pair
The portrait of a Lady is signed (lower right)
Each 65 x 56cm (25½ x 22 in.) (2)
Provenance:
Sale, Dorotheum, 23 June 1992, lot 88, 89
According to label on the verso, the sitters are identified as two members of the House of Montmorency, one of the oldest noble families in France, dating back to the tenth century. The family, since its first appearance in history in the person of Bouchard I of Montmorency in the 10th century, has furnished six constables and twelve marshals of France, several admirals and cardinals, numerous grand officers of the Crown and grand masters of various knightly orders. Henry IV of France once said, that if ever the House of Bourbon should become extinct no European family deserved the French crown more than the House of Montmorency. The absence of heraldic symbols or distinguished countenance traits leaves the identity of the sitters uncertain.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ GERRY JUDAH (BRITISH B. 1951)
FRONTIERS 09
Foamboard and acrylic gesso on canvas
Signed, titled and dated 2005 (verso)
200 x 150cm (78½ x 59 in.)
Unframed
Provenance:
Acquired direct from the artist in 2005
Calcutta-born Gerry Judah FRSS is especially celebrated for his public sculptural installations. He has designed settings for the BBC, Goodwood Festival, British Museum, and the Natural History Museum, as well as numerous musicians and directors. Straddling painting and sculpture, his works often involve a reflection on the destructive potential of humanity. Judah's 2000 commission from the Imperial War Museum for a model of Auschwitz cemented his reputation as a preeminent chronicler of the horrors of war. Exhibited at the Timber Yard, London in 2005, the 'Frontiers' series demonstrates Judah's command of distinctive materials - extruded foam covered with Lascaux acrylic - and his commitment to historical reality. By evoking conflict zones in the Middle East such as Jenin, Judah calls attention to the artist's responsibility not only to commemorate - as in his World War I memorial at St Paul's Cathedral - but raise awareness of ongoing injustices. There is a palpable tension between the meticulous craftsmanship of this Pompeiian scene, which verges on the serene, and the gutted, deserted buildings jutting out from the surface. As the artist muses on the paradoxical nature of his endeavour, 'You're listening to your CDs. You're making sure that these places are growing out of the canvas. It colonises your soul, because it's not just about the gesso and the texture - it's about destruction' (in Jay Merrick, 'Return to the Conflict Zone', 2005).
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
RYAN MCLAUGHLIN (AMERICAN B. 1980)
YOUNG MAN
Oil on panel
Signed, titled and dated 2007 (verso)
30 x 25cm (11¾ x 9¾ in.)
Unframed
Provenance:
Galerie Alexandre Pollazzon Ltd., London
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
RYAN MCLAUGHLIN (AMERICAN B.1980)
COLLAGE BY C. NEELY, 2007
Oil on linen laid to board
Signed, titled and dated 2007 (verso)
60.5 x 69cm (23¾ x 27 in.)
Unframed
Provenance:
Loraini Alimantiri/Gazonrouge, Athens
Acquired from the above in 2007
Primarily a painter, Ryan McLaughlin works between Germany and the United States. He has exhibited at Adams and Ollman, Laurel Gitlen, Koenig & Clinton, and David Petersen Gallery. McLaughlin interrogates the materiality of his medium, covering his canvas with abstracted layers of paint. Some passages recall the graphic clarity of Ruscha; others evoke the flatness of Manet's surfaces. The artist often incorporates the visual language of advertising and signage, though his understated practice suggests an ambivalent attitude towards modern information culture. This picture's title and iconography is an homage to Cam Neely, an ice hockey player who wore the #8 jersey for the Boston Bruins. McLaughlin's is a syncretic set of symbols, however: patchwork fabrics suggest other, less explicit affiliations, and the daisy affixed to the wooden pole only complicates the ensemble. Ultimately, Collage by C. Neely can be read as a commentary on the composite nature of identity, stitched together and altered like a quilt.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
UGO RONDINONE (SWISS B. 1964)
CLOCKWORK FOR ORACLES - ORANGE, 2002
Mirror, coloured plastic gel and wood
Signed and dated 2002 (verso)
77 x 67cm (30¼ x 26¼ in.)
Provenance:
Matthew Marks Gallery, New York
Acquired from the above in 2007
Prolific and versatile, Swiss-born Ugo Rondinone is renowned for his spatially conscious works, from monumental public installations to immersive indoor exhibitions. Rondinone is represented by Gladstone Gallery and Sadie Coles HQ; he has exhibited at the Centre Pompidou, the Albertina Museum, and the Art Gallery of New South Wales. Many of Rondinone's best-known works, such as Seven Magic Mountains in Ivanpah Valley, are seductive in their simplicity. Brightly coloured and sharply outlined, there is an elegant clarity to the artist's mixed-media creations. This aesthetic appeal should not detract from their serious conceptual concerns: the present work, part of the Clockwork for Oracles installation, is no exception. Originally exhibited against a backdrop of newspaper clippings as a group of 52 similar compositions - one for every week of the year - Clockwork for Oracles highlights the issues of temporality and modern information culture. Rondinone subverts the function of a window - a common motif - by substituting a mirror for what should be a portal to the outside world. In line with the Ciceronian conception of the eyes as the window to the soul, the viewer is invited to look inward and prioritise what is truly important over the distracting currents of the everyday. An attractive and cerebral work, Clockwork for Oracles is a warning both against navel-gazing and being overwhelmed by a deluge of media, chiming perhaps with the conclusion of Voltaire's Candide : 'let us cultivate our garden.'
Condition Report:
The two sheets of orange both have very fine curved scratches across the upper half of each panel. There are also a number of what appear to be air bubbles scattered across both panels. Please contact housesales@dreweatts.com for additional images.
Condition Report Disclaimer
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ MICHAEL RAEDECKER (DUTCH B. 1963)
INDEPENDENT
Acrylic and thread on canvas, two parts
Both signed, titled, inscribed and dated 2004 to overlap (verso)
Each 90 x 160cm (35¼ x 62 in.) (2)
Unframed
Provenance:
Hauser & Wirth, Zurich
Acquired from the above in 2006
Once a student of fashion design at the Gerrit Rietveld Academie in Amsterdam, Michael Raedecker has distinguished himself as a creator of composite works that incorporate acrylic paint and thread. Raedecker won the John Moores Painting Prize in 1999 and was nominated for the Turner Prize in 2000; he is represented by GRIMM and has exhibited at Hauser & Wirth, Andrea Rosen Gallery, and Kunsthal Rotterdam. Raedecker's eye for embroidery was honed during his time as an apprentice to Martin Margiela, founder of the eponymous fashion house. Beyond aesthetics, though, the artist engages earnestly with the materiality of his canvases. Textures shift from silken to impasto as spectral forms creep across eerie landscapes. Raedecker's often dark, restrained palette is exemplified by Independent , a scene of unnerving quiet that places a group of slender figures on a receding plane. The picture's surface is at once alienating and alluring, drawing the viewer in just as it refuses to give up the secrets of its genesis.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ GILLIAN CARNEGIE (BRITISH B. 1971)
SUGAR SHACK
Oil on board
Signed and dated 1999 twice and titled (verso)
23 x 33cm (9 x 12 in.)
Unframed
Provenance:
Sale, Christie's, London, Post-War & Contemporary Art , 1 July 2008, lot 499
Working in the realist tradition, Gillian Carnegie is a consummate technician in oils. A Turner Prize nominee, Carnegie has received solo exhibitions at Andrea Rosen Gallery, New York, Cabinet Gallery, London, and the Douglas Hyde Gallery, Dublin. The artist has experimented with patterned abstraction, but is better known for her tonal landscapes, still lifes, and nude snapshots. Carnegie's figure paintings recall the graceful women of classical statuary, such as Sleeping Hermaphroditus , and related Old Master pictures including the Rokeby Venus , while also channelling a distinctly contemporary impulse in their unaffected intimacy. The artist's restrained palette foregrounds the play of light over flesh, which allows Carnegie to showcase her technical prowess. Her deft modelling of form is complemented by the close-cropped framing of her subjects, which gives the impression of spontaneous authenticity. This picture's title, Sugar Shack , is more likely a suggestive allusion to the cultivation of maple syrup than an homage to Ernie Barnes' 1976 painting of joyous dancers by the same name. Indeed, there is an insistent tranquillity to much of Carnegie's work - this being no exception - that invests her everyday subjects with a certain stateliness. Sugar Shack is equally remarkable as a formal exercise and an elevation of the human body.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
6,000 - 8,000 GBP
λ GILLIAN CARNEGIE (BRITISH B. 1971)
UNTITLED
Oil on board
Signed twice and dated 1998 (verso)
32 x 23cm (12½ x 9 in.)
Unframed
Provenance:
Sale, Christie's, New York, Post War and Contemporary Art , 14 November 2007, lot 347
Working in the realist tradition, Gillian Carnegie is a consummate technician in oils. A Turner Prize nominee, Carnegie has received solo exhibitions at Andrea Rosen Gallery, New York, Cabinet Gallery, London, and the Douglas Hyde Gallery, Dublin. The artist has experimented with patterned abstraction, but is better known for her tonal landscapes, still lifes, and nude snapshots. Carnegie's figure paintings recall the graceful women of classical statuary, such as Sleeping Hermaphroditus , and related Old Master pictures including the Rokeby Venus , while also channelling a distinctly contemporary impulse in their unaffected intimacy. The artist's restrained palette foregrounds the play of light over flesh, which allows Carnegie to showcase her technical prowess. Her deft modelling of form is complemented by the close-cropped framing of her subjects, which gives the impression of spontaneous authenticity. In Untitled , Carnegie renders planes and shapes with a sculptural, monumental quality, as they are thrown into relief by smooth blends and soft shadows. Thus does Carnegie pedestalise the nude without idealising its form, honouring the human body with progressive verve.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
λ SERBAN SAVU (ROMANIAN B. 1978)
UNTITLED
Oil on canvas
Signed and dated 2006 (verso)
35.5 x 50.5cm (13¾ x 19¾ in.)
Unframed
Provenance:
The Sovereign Art Foundation, Hong Kong
Acquired from the above in 2007
Like his paintings, the Romanian artist Serban Savu is sincere and down-to-earth. He is represented by David Radziszewski; his works have been exhibited at the Centre Pompidou, Nicodim Gallery, and the Fondation Louis Vuitton. Savu is an ardent champion of the Old Masters, as evidenced by his frank, figurative canvases. His choice of commonplace subjects - most often his countrymen going about their daily activities - calls forth associations with Pieter Bruegel the Elder, Jean-François Millet, or the Le Nain brothers. WIthout embellishing or vulgarising, Savu's unpretentious depictions of the working man paint an evocative picture of everyday life in Romania. The present picture sees a figure trundle along through suburbia, focused yet unhurried. As in Untitled , the faces of Savu's subjects are often indistinct: they are everymen, lost in thought, content with the paths they have forged. Perhaps the viewer can find some comfort in the fact that, despite great upheaval - Savu lived through the Ceaușescu regime in his youth - life goes on, as do the worlds people create for themselves.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ JAAP DE VRIES (DUTCH 1959-2014)
MASTBOS (BIRCH NO. 9)
Acrylic on aluminium
Signed, titled and dated 2007 (verso)
80 x 60cm (31¼ x 23½ in.)
Unframed
Provenance:
20 Hoxton Square, London
The Dutch painter Jaap de Vries has not yet received his due. A winner of the Wim Izaks Prize, he has exhibited at 20 Hoxton Square Projects, Hackney, and Locuslux Gallery, Brussels. Vries works primarily in watercolour; his choice of support is less conventional, as he applies pigment directly onto an aluminium printing plate designed to offset ink. This creates an oil-and-water sensation whereby the paint layers appear almost to float above the surface, an effect emphasised in pictures that leave portions of the metal ground visible. Vries' figurative œuvre includes a number of portraits, with his landscapes keyed in similarly sombre tones: a melancholic tenor pervades his work. Birch depicts a desolate forest, as stripped trunks screen off the horizon like railings. This claustrophobic atmosphere is only intensified by the reflection in the puddle - facilitated by Vries' choice of medium - which suggests that, wherever one looks, there is no escape. Yet, for all its brooding eeriness, Vries' is not a pessimistic art; it simply provides the viewer with a backdrop against which to reckon with their vulnerability.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
GÜNTER HERBST (SOUTH AFRICAN B. 1963)
NEW OXFORD STREET 2/WHITE BLACK RED 2007
Oil on canvas
68.5 x 100.5cm (26¾ x 39½ in.)
Unframed
Provenance:
One in the Other, London
Acquired from the above in 2007
The South African artist Günther Herbst began his career as a set painter for animation studios, which explains the abidingly evocative, graphic quality of his work today. Selected for the John Moores 24 Exhibition of Contemporary painting and nominated for the Jerwood Contemporary Painters Award in 2008, Herbst has exhibited at Coleman Projects, Monte Vista Projects, and CTICC. Having spent long periods in the urban centres of Johannesburg, Berlin, and London, Herbst is alive to wealth inequality, and has photographed homeless shelters since 1998. The double-barrelled titles of his paintings on this theme reflect a serious, almost ethnographic commitment to landscape painting. New Oxford Street 2 / White Black Red refers to modernist visual language, most notably the outlined quadrilaterals of Piet Mondrian. There is a marked textural contrast between the matte solidity of these planes and the irregular forms of the shelter. Ultimately, Herbst highlights the transience of these temporary dwellings, which is thrown into sharp relief by the permanence of their backdrop.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
RYAN MCLAUGHLIN (AMERICAN B. 1980)
WORCESTER CENTRUM (CENTRE), 2007
Oil on linen laid to board
Signed, titled and dated 2007 twice (verso)
50 x 55cm (19½ x 21½ in.)
Unframed
Provenance:
Galerie Alexandre Pollazzon Ltd., London
Primarily a painter, Ryan McLaughlin works between Germany and the United States. He has exhibited at Adams and Ollman, Laurel Gitlen, Koenig & Clinton, and David Petersen Gallery. McLaughlin interrogates the materiality of his medium, covering his canvas with abstracted layers of paint. Some passages recall the graphic clarity of Ruscha; others evoke the flatness of Manet's surfaces. The artist often incorporates the visual language of advertising and signage, though his understated practice suggests an ambivalent attitude towards modern information culture. Though unusually figurative, Worcester Centrum (Centre) is typically two-dimensional. The sky shares its mural quality with the edifice to the right, which likely references what is now known as the DCU Center, an arena and convention hall in McLaughlin's native Worcester, Massachusetts. The basketball hoop in this picture alludes to one of the many sports played in this building; its colouring is reminiscent of the American flag. This subtle use of iconography allows McLaughlin to engage obliquely with questions of national identity.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
λ SERBAN SAVU (ROMANIAN B. 1978)
DACIA
Oil on canvas
Signed and dated 2007 (verso)
26 x 40cm (10 x 15½ in.)
Provenance:
Kontainer Gallery, Los Angeles
Acquired from the above in 2007
Like his paintings, the Romanian artist Serban Savu is sincere and down-to-earth. He is represented by David Radziszewski; his works have been exhibited at the Centre Pompidou, Nicodim Gallery, and the Fondation Louis Vuitton. Savu is an ardent champion of the Old Masters, as evidenced by his frank, figurative canvases. His choice of commonplace subjects - most often his countrymen going about their daily activities - calls forth associations with Pieter Bruegel the Elder, Jean-François Millet, or the Le Nain brothers. WIthout embellishing or vulgarising, Savu's unpretentious depictions of the working man paint an evocative picture of everyday life in Romania. The present picture sees a figure trundle along through suburbia, focused yet unhurried. As in Untitled , the faces of Savu's subjects are often indistinct: they are everymen, lost in thought, content with the paths they have forged. Perhaps the viewer can find some comfort in the fact that, despite great upheaval - Savu lived through the Ceaușescu regime in his youth - life goes on, as do the worlds people create for themselves.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
KAZ OSHIRO (JAPANESE/AMERICAN B. 1967)
UNTITLED PAINTING (BLUE PEARL/DUST)
Acrylic on canvas laid to board
Signed, titled, inscribed and dated (verso)
86.5 x 61cm (34 x 24 in.)
Unframed
Provenance:
Miami Gallery LLC, Miami
Acquired from the above in 2010
An innovative artist whose practice straddles painting and sculpture, Kaz Oshiro is based in Los Angeles. Oshiro is represented by Galerie Frank Elbaz; he has exhibited at the Royal Academy, Hammer Museum, and LACMA. Oshiro's œuvre is largely comprised of realistic everyday objects, such as amplifiers and dumpsters, which he has constructed and painted to resemble their functional counterparts. This trompe-lʼœil artifice reveals itself only upon approach, however, as it emerges that the artist has stitched together various canvases to give the impression of a solid object. While initially inspired by the hyperrealism of such artists as Richard Estes, Oshiro's later works reflect profound spatial awareness and an abstract sensibility. His folded pictures, such as Untitled Still Life , transform a traditionally two-dimensional medium into a sculptural decorative statement. Drawing on the visual languages of minimalism and abstract expressionism, Untitled Painting (blue pearl/dust) interacts impactfully with its exhibition space. It is as if the firmament has descended upon the viewer, glistering as they move around it.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
3,000 - 5,000 GBP
PABLO CARDOSO (EQUADORIAN B. 1965)
FF 3
Acrylic on wood, eight works
Each signed, titled, inscribed and dated 2006
Each 8.5 x 21cm (3¼ x 8¼ in.)
Unframed (8)
Provenance:
DPM Gallery, Ecuador
Acquired from the above in 2015
The Ecuadorian painter Pablo Cardoso has demonstrated remarkable consistency over the course of his thirty-five-year career. Cardoso has exhibited at El Museo del Barrio, MART, and DPM Gallery; his work can be found in MOLAA and the Colección Patricia Phelps de Cisneros. Revolving around the geographical environment of South America, much of Cardoso's œuvre reveals a documentary impulse. Lago Agrio - Sour Lake - the serial nature of which recalls Gerhard Richter, an acknowledged influence - is perhaps the defining achievement of his career. 120 painted panels depict the journey of polluted water from Ecuador to Texas in a commentary on globalisation and its consequences. Cardoso's work is characterised by an admirable commitment to environmental justice, as he seeks to raise awareness of the natural world that so inspires him. FF#3 belongs to a series of group paintings that appear to recreate burst photographs of a running figure. As if captured in quick succession, these monochromatic images resemble frames of a film reel, their very form stressing the ephemeral experiences we share. The masterfully rendered snapshots call attention to nature's delicacy, as well as its beauty, and insist upon our role as its custodians.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,500 - 2,000 GBP
KEN OKIISHI (AMERICAN B. 1978)
GESTURE/DATA 2013
Chroma key video paint on large format display led, barco crt blue screen video by HD camera transfer OR Oil on flatscreen monitor with video, colour, sound
105 x 61cm (41¼ x 24 in.)
Provenance:
Matthew Gallery, Lieske/Kersten Gbr., Berlin
Acquired from the above in 2014
Based in New York, Ken Okiishi is celebrated for his avant-garde combination of media, particularly painting and film. Okiishi is represented by Pilar Corrias; he has exhibited at the Whitney Museum, Frieze Art Fair, and MoMA. Though the artist embraces video footage as readily as acrylic pigment, his interdisciplinary work is united by a forward-looking impulse, forever interrogating the impact of technology on visual perception. The gesture/data series marked Okiishi's first solo exhibition in London: six television screens hang from the walls, playing jittery VHS footage or, indeed, recordings of blue error screens. The present example falls into the latter camp, as chroma key paint (used for green-screen compositing) is superimposed onto the azure empyrean. Okiishi's mark-making recalls Joan Mitchell - an avowed inspiration - in its eloquent intensity. The paint is daubed onto the surface like a heat map, as if tracking movements across a touch screen. By implying connections between abstract expressionism and modern-day technological manipulation, Okiishi inaugurates a new form of art, one suited to our digital age.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
10,000 - 15,000 GBP
λ KEITH COVENTRY (BRITISH B. 1958)
ALEXANDER THE GREAT; A MILLWALL FAN
Oil on canvas, wood, glass & goldleaf, in two parts
Both signed and dated 1993 (verso)
Each 69 x 39cm (27 x 15¼ in.) (2)
Provenance:
Curt Marcus Gallery, New York
Sale, Christie's, Contemporary Art , 8 December 1999, lot 167
In 326BC Alexander The Great singlehandedly attacked a fortress containing 50,000 Indian Soldiers. In 1985, a Millwall fan singlehandedly attacked over 200 Luton fans.
The restrained and often abstract works of Keith Coventry engage meaningfully with sociohistorical concerns. Coventry won the John Moores Painting Prize in 2010; his works can be found in the collections of Tate Modern, MoMA, and the Walker Art Center. The artist's practice is diverse, ranging from monochromatic impasto to Walter Sickert references and interpretations of Han van Meegeren's forgeries. Coventry has classified the present diptych - a typically unusual and tongue-in-cheek juxtaposition - as 'abstract history paintings' (Keith Coventry, Hirst, Fairhurst, Hume, Coventry, Quinn , p. 14). Reminiscent of Kazimir Malevich's suprematist canvases, these works support the Derridean understanding of title as parergon, without which the image itself remains indeterminate. The Millwall picture alludes to the 1985 Luton riot, which saw the notoriously unruly visitors clash with home supporters. This instance of hooliganism is associated with Alexander the Great's triumphant Siege of Aornos in a somewhat misleading David-and-Goliath arrangement, as in both cases the warring parties were evenly matched. The similarity and visual impact of this pair alludes to their overarching significance as a monument to narrative: moments across millennia, from the theatre of war to the sporting arena, are linked by their readiness to be chronicled and, more often than not, mythologised.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
λ LOTHAR HEMPEL (GERMAN B. 1966)
YOU'D BETTER LEARN TO FLY
Acrylic on aluminium
Signed and dated 08 (verso)
170 x 70cm (66¾ x 27½ in.)
Provenance:
Stuart Shave/Modern Art, London
Acquired from the above in 2008
Cologne-born Lothar Hempel has developed a highly distinctive visual vocabulary over his three-decade career. His work has been exhibited at the Venice Biennale, Stedelijk Museum, Tate Liverpool, and the Centre Pompidou. Hempel borrows from sources as varied as Dadaism and Greek tragedy to inform his thoroughly theatrical practice. Celebrated for his immersive installations, Hempel is also recognised for his series of paintings of carnivalesque figures. Their depiction is codified: standing in profile atop a platform and against a solid backdrop, distinctively clothed. The self-contained nature of these surreal portraits resists the viewer's attempts at self-insertion - Hempel's is resolutely another universe. You'd Better Learn to Fly exemplifies the tongue-in-cheek absurdity of the artist's œuvre, as the jester figure threatens a swan. The sleek, polished finish of this work feels distinctly modern, yet, in its graphic clarity and pronounced characterisation, reminiscent of the vibrant colours and polished finish achieved in pietra dura a highly skilled process of arranging cut stone to achieve intricate and decorative designs that flourished in Florence during the late 16th century.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
20,000 - 30,000 GBP
MATTHEW DAY JACKSON (AMERICAN B. 1974)
DRESDEN
Burned wood and lead on panel
Signed and dated 2010 (verso)
249 x 165cm (98 x 64¾ in.)
Provenance:
Grimm Fine Art, Amsterdam
Acquired from the above in 2009
A versatile and prolific artist, Matthew Day Jackson is represented by Pace Gallery; he has exhibited at MFA Boston, Portland Museum of Fine Art, and the Whitney Museum. What unites many of his varied works is a focus on landscape and nationhood, particularly as regards American cultural identity. The present panel, whose material vocabulary speaks to Jackson's interest in mortality and destruction, is not alone in the artist's œuvre. Jackson's 2012 sculpture in the same media, August 6, 1945 , presents an aerial view of San Franciso, counterfactually devastated by the atomic bomb that struck Hiroshima. His 2017 rendering by the same title turns to New York, continuing this imagined history. Only that of Dresden need not be imagined: in 1945, the city was ravaged by an Allied attack, the disproportionate intensity of which compromised the morality of its perpetrators. Jackson thus calls attention to modern crises of international justice and the questionable righteousness of its loudest proponents.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
PERSIAN SCHOOL (20TH CENTURY), ATTRIBUTED TO HOSSEIN QOLLAR AGHASI
SOLEIMAN SEATED CENTRALLY, FLANKED BY ROSTAM TO THE LEFT AND THE WAZIR TO THE RIGHT, WITH COURTIERS IN ATTENDANCE
Oil on canvas
Signed 'Hossein Qollar Aghasi'
139 x 118 cm
This beautiful painting is a wonderful example of the qaveh-khaneh (coffee-house) school of painting of Iran. These works were very popular during the early twentieth century and beyond. This particular work is signed by Hossein Qollar Aghasi (1902-1966), who was one of the most well-known of these artists and highly collectible. He was known for his mural frescoes, which were based on religious traditions and stories from the national epic of the Shahnameh. Soleiman is seated within a fantastical landscape of all sorts of birds and mythological creatures
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
2,000 - 3,000 GBP
PERSIAN SCHOOL (20TH CENTURY), ATTRIBUTED TO HOSSEIN QOLLAR AGHASI
SHADDAD ON THE THRONE, BEING DENIED ENTRY TO PARADISE BY GABRIEL, WITH SHEHEREZAD IN THE FOREFRONT PLEADING FOR HER LIFE
Oil on canvas
Signed 'Qollar Aghasi' in Persian and dated '1324' (1945)
201 x 102cm
This colourful qaveh-khaneh (coffee-house) school of painting was very popular in Iran during the early twentieth century. The scenes in this are from 'A Thousand and One Nights', telling more than one story. On the left, Sheherezad is depicted pleading for her life and she has to tell stories for a thousand and one nights, and one of them (above) tells the story of Shaddad, the very rich and powerful King, who built a city of gold but was denied entry into Paradise by the Angel of Death because of his greed
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
Quantity
1
Max bid
GBP
Estimate
1,800 - 2,200 GBP
PERSIAN SCHOOL (20TH CENTURY), IN THE STYLE OF HOSSEIN QOLLAR AGHASI
KING KHOSROW AND SHIRIN WITH FARHAD
Oil on canvas
Inscribed with the names of the characters depicted in Persian
93 x 137cm (36 5/8 x 53 7/8in.)
This charming painting depicts a scene from the Khamza of the Persian poet Nizami. It shows Kay Khosrow, the King of Persia, in the background. Shirin is depicted in the foreground, holding the dead body of Farhad. The story was originally told in Ferdowsi's Shahnameh and tells of the love story between the Persian King Khosrow and the Armenian princess Shirin. In this scene Farhad, a sculptor, in love with Shirin, has been told by King Khosrow that if he manages to construct a staircase he can marry Shirin. Farhad achieves this but the King lies to him, telling him that Shirin is dead. Farhad, grief-stricken, throws himself off the mountain and dies. It is possible that this painting was done by the most renowned coffee-house artist, Hossein Qollar Aghasi (1902-1966). But as it is unsigned, one is unable to attribute this for certain.
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
GUIDO AGOSTINI (ITALIAN 1870-1898)
RIVERSCAPE WITH FIGURES AND SAN MINIATO BEYOND
Oil on board, oval
Signed and dated '1881' (lower centre)
25 x 21cm (9¾ x 8¼ in.)
Provenance:
Sale, Dotorheum, Landschatten des 19 und 20. Jahrhunderts , 8 February 1990, lot 60
Featured lot
Provisionally sold
Leading
Won
Outbid
Lost
Declined
Reserve not met
Leading
ARMEN ELOYAN (ARMENIAN B. 1966)
UNTITLED (87)
Oil on canvas
Signed and dated 2006 (verso)
60 x 50cm (23½ x 19½ in.)
Unframed
Provenance:
Galerie Bob van Orsouw, Zurich
Acquired from the above in 2007
The Armenian artist Armen Eloyan is known for his brooding, cartoonish canvases. Eloyan's work can be found in the Deutsche Bank Collection and the Olbricht Collection; he has held solo exhibitions at Timothy Taylor, Patrick Painter, and the Centre d'art Neuchâtel. The street art produced by Eloyan while studying at the Rijksakademie in Amsterdam informs his lively, evocative brushwork. His often menacing figures are tempered by a strain of humour, caricature, and tongue-in-cheek allusions to pop culture. Eloyan has not had an easy life - he undertook national service in Siberia for the Armenian SSR - but he invests his work with a refreshing flippancy. Bursting forth from the canvas, the batlike creature of Untitled (87) resembles the adversaries of a computer game or comic strip. Eloyan's impasto and nocturnal palette enhance the dungeonlike atmosphere, as the chain above points to sinister designs. It is a testament to the power of his practice that Eloyan's decidedly inhuman figures call forth such relatable emotions.
Please review and confirm your bid
Current bid:
Opening bid:
Your max bid:
Max bid:
Quantity:
Bidding ends:
Your bid is off increment
Choose one of the quick bid options below:
Your bid is below the current minimum bid
To place a bid select the minimum amount below:
Bidding has ended on this item
We are always adding new lots, use search to find similar items.
You are the current highest bidder!
To be sure to win, come back before the lot closes or increase your maximum bid.
You have been outbid!
For a chance of winning, increase your maximum bid.
You have been outbid!
Another bidder has already bid this amount. For a chance of winning, increase your maximum bid.
You have won!
Congratulations!
You are the winning bidder on this lot.
You have lost!
Unfortunately you have missed out on this lot.
Unable to place your bid
Please refresh your page to see current lot status.
We're very sorry, but we were unable to process the Buy it now.
Please contact customer services for more help.
Your bid has been declined
Your bid has been declined by the auctioneer, please contact customer services for more information.
Your bid is pending approval with the auctioneer
Please check your email account for more details.
You cannot Buy it now until you are approved to bid.
Please contact the auctioneer
Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
Please review and confirm your bid
Current bid:
Opening bid:
Your max bid:
Max bid:
Buy it now price:
As your Max bid is at least equal to the Buy it now price, you can immediately purchase the lot.
New bid:
Quantity:
Bidding ends:
Your bid is off increment
Choose one of the quick bid options below:
Your bid is below the current minimum bid
To place a bid select the minimum amount below:
Bidding has ended on this item
We are always adding new lots, use search to find similar items.
You are the current highest bidder!
To be sure to win, come back before the lot closes or increase your maximum bid.
You have been outbid!
For a chance of winning, increase your maximum bid.
You have been outbid!
Another bidder has already bid this amount. For a chance of winning, increase your maximum bid.
You have won!
Congratulations!
You are the winning bidder on this lot.
You have lost!
Unfortunately you have missed out on this lot.
Unable to place your bid
Please refresh your page to see current lot status.
We're very sorry, but we were unable to process the Buy it now.
Please contact customer services for more help.
Your bid has been declined
Your bid has been declined by the auctioneer, please contact customer services for more information.
Your bid is pending approval with the auctioneer
Please check your email account for more details.
You cannot Buy it now until you are approved to bid.
Please contact the auctioneer
Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.