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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
28 South Street: The Mayfair Home of Fatima & Eskandar Maleki
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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
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26 % (exc. Sales tax) |
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Featured lots
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λ PHYLLIDA BARLOW (BRITISH 1944-2023)
UNTITLED
Cement, plaster, scrim, spray paint, and paint over polystyrene core
20 x 28 x 25cm (7¾ x 11 x 10in.)
Provenance:
Studio Voltaire, London
Exhibited:
London, House of Voltaire, 2010, fundraiser for Studio Voltaire
Following a forty-year academic career, the late Phyllida Barlow DBE dedicated herself to the creation of art. Within the last decade, Barlow's work has been exhibited in solo shows at the Kunsthalle Zurich, Hauser & Wirth, and the Royal Academy of Art. In 2017, Barlow was chosen to represent Britain at the Venice Biennale. Renowned for her monumental sculptural installations, this work represents Barlow's practice at its most intimate. The object's rough surface is typical of the artist's recourse to everyday materials. The pitted rock is at once familiar and, given its rusty glow, other-worldly. It is a testament to Barlow's rejection of refined, polished forms and her avowed fascination with the 'abstract qualities of time, weight, balance' ( The Guardian , 2016).
SALEROOM NOTICE: please note the dates of the artist should read 1944-2023 and the work was purchased from Studio Voltaire in London.
Condition Report:
Light surface of dust covering the surface of the sculpture, most notable to some of the tight crevices. There are some areas of fraying gauze with some associated loose plaster. However, this may have been artist intent. There appears to be some very minor rubbing to the underside and to protruding points commensurate with age.
Condition Report Disclaimer
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A BAROQUE CARVED AND PAINTED RELIQUARY BUST
SPANISH OR FRENCH, 17TH CENTURY
Possibly a bishop or Saint figure, carved wood and gesso with a scroll cartouche with hollow centre for the reliquary and carved with initials JX on scroll feet
94cm high
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A PAIR OF BRONZE BUSTS OF FRENCH WRITERS
LATE 19TH CENTURY
Possibly Voltaire and Rousseau
22.5cm high
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AFTER ARTHUR WAAGEN- BRONZE OF A DOG WITH A BALL
LATE 19TH CENTURY
Signed to cast
23cm wide, 15cm high
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A BRONZE TRIFORM TAZZA
AUSTRIAN, LATE 19TH CENTURY
The whole on eagle claw base
17cm high
Together with a pair of bronze figures of a deer and a duck with horns, 24cm high
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A FRENCH BRONZE OF A DOG AND SLEEPING CHILD
19TH CENTURY
On a marble plinth, unsigned
16cm high
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AFTER EMILE BRUCHON- A BRONZE FIGURE OF A WOMAN IN DIAPHANOUS ROBES
EARLY 20TH CENTURY
Signed to cast, on associated giallo marble plinth base
figure 25cm high, 30cm high overall
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A PAIR OF LARGE STONE SPHERES
20TH CENTURY
Each set on plinth base with candle wax deposits
approximately 64cm high overall
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A GILT BRONZE FIGURE OF A CHILD KNEELING AND PRAYING
MID 19TH CENTURY
Possibly after a design by Bell
16cm high
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A PAIR OF GILT BRONZE BOOKENDS FORMED AS FIGURES OF GREEK WARRIORS FRENCH, 19TH/20TH CENTURY 17cm high
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AFTER JEAN HOUDON- A PAIR OF GILT BRONZE AND MARBLE FIGURES 'THE KISS'
FRENCH, 19TH CENTURY
24cm high
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A PAIR OF COLD PAINTED BRONZE CHINESE PHEASANTS
20TH CENTURY
On portoro marble plinths
15cm high
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AN ITALIAN BRONZE HORSE
19TH CENTURY
With damages, now set on wood stand
8.5cm high
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A FRENCH BRONZE BUST OF FLORA
LATE 19TH CENTURY
Impressed LU29 and signed indistinctly A N**on Paris
43cm high
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DEMÉTRE H CHIPARUS (ROMANIAN, 1886-1947), FLOWER GATHERER, AN ART DECO BRONZE AND CARVED IVORY ( CHRYSELEPHANTINE) FIGURE OF A GIRL
CIRCA 1920
The girl portrayed standing wearing hat, dress, and stockings, holding a basket of flowers to her waist, on a naturalistic plinth base,
Signed to plinth
25cm high
See Brian Catley, 'Art Deco and Other Figures', 1978, page 69, for an illustration of this model
Please note that Dreweatts have applied for a de minimis exemption for this lot ref: AFKSYTPA
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A GILT BRONZE FIGURE OF SEATED WOMAN
FRENCH, MID/LATE 19TH CENTURY
Depicted seated, holding a tambourine with dancing goat, unsigned
25.5cm high
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TERENCE KOH (CANADIAN B. 1977)
MYTH OF A MYTH, MARY, 2004
Cast statuette, plaster, metal, gold and gold leaf with glass display case
58.5 x 45 x 45cm (23 x 17½ x 171/2in.)
Provenance:
Peres Projects, Los Angeles
Acquired from the above in 2007
The Canadian artist Terence Koh has courted popularity and controversy in equal measure. Koh has received solo exhibitions at MUSAC, Kunsthalle Zürich, and the Vienna Secession; his work can be found in the collections of MoMA, the Whitney Museum, and Tate Modern. From his beginnings as the creator of a zine under the alias 'asianpunkboy', Koh has pushed the envelope with infamous audacity. His irreverent œuvre combines lofty conceptualism and spirituality with alternative punk aesthetics. Koh's 2006 Untitled (Medusa) featured erection-bearing statuettes of the Virgin Mary; a similarly modified sculpture of Jesus infamously provoked uproar and even legal charges when it was exhibited in 2008. Myth of a Myth, Mary is a work of similar tensions: covered in gold leaf, the religious figurine has been displaced and installed in a pot.
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AFTER JOSEPH LAMBEAUX; A BRONZE FIGURE GROUP/PAPERWEIGHT 'SAPPHIC LOVERS'
20TH CENTURY
Signed to cast
12cm wide
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A PAIR OF BRONZES OF LUTE PLAYER AND COMPANION
FRENCH, 19TH CENTURY
On giallo marble plinth bases, unsigned
21cm high
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SHEREE HOVSEPIAN (IRANIAN/AMERICAN B. 1974)
UNTITLED (COLUMN)
Bronze with black patina
Height: 40cm (15½in.)
Executed in 2012. This work is unique.
A photographer by training, the Iranian-American artist Sheree Hovsepian is fascinated with the human body. Hovsepian has exhibited at Rachel Uffner Gallery, the Israel Museum, and Parrish Art Museum; her work can be found in the collections of the Solomon R. Guggenheim Museum and the Art Institute of Chicago. Hovsepian's œuvre is largely comprised of collages that frame a monochromatic photograph with found objects and everyday materials. Her columnal bronzes are equally unique, as their lost-wax casting process ensures that each iteration is different from the last. Indeed, she subverts the classical use of the medium - polished, refined figurative sculptures - by allowing conspicuous traces of her hand to texture the surface, as in Bronze Sculpture on Wooden Plinth . This sculpture may engage only indirectly with Hovsepian's characteristic focus on the body, but it is no less concerned with materiality and form.
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40,000 - 60,000 GBP
AFTER ANTOINE COYSEVOX (1640-1720), A SUBSTANTIAL AND IMPRESSIVE PAIR OF BRONZE FIGURES OF 'MERCURE ET LA RENOMMÉE- MONTÉE SUR PÉGASE'
CAST BY EUGENE CORNU, MID 19TH CENTURY
Fame (Renommee), wearing a laurel wreath and holding an olive branch, blowing the Trumpet Of Truth proclaim Louis XIV's warlike strength, with trophies below including a shield with winged Victory holding a palm and crown, Mercury, the divine messenger and god of trade, symbolizing a return to peace, trophies below with shield decorated with Minerva, Goddess of War, on French Rouge de Languedoc marble bases, trace of signature P G*** and date possibly 183* to one cast base, each with foundry and retailer inscription for Eug Cornu, Paris , presented on modern faux marble presentation stands with inset lights
bronzes approximately 111cm high
marble bases 15cm high, 81.5cm wide, 33.5cm deep
modern stands 38cm high, 105cm wide, 56cm deep
approximately 164cm high overall
Provenance:
Purchased from Serge Mazières Antiquaire, Nice, February 1993
This substantial and impressive pair of equestrian bronzes are after the famous marble equestrian sculptures by Antoine Coysevox (1640-1720) portraying Renommée and Mercury, each seated upon the mythological winged horse Pegasus.
After the signing of the Treaty of Ryswick in 1697 Louis XIV tasked his Superintendent of Buildings, Jules Hardouin-Mansart, to commission appropriate and imposing statuary for the park at the Château de Marly. Coysevox was chosen to create two equestrian groups emblematic of Louis XIV's prestige in both times of war and peace.
The original Carrara marble figures were commissioned by Louis XIV in 1699 and delivered in 1701-2 when they were placed on either side of the upper part of the horse pond at the entrance to the Parc de Marly. In 1719 they were moved to the Western terrace in the Tuileries Garden and are now exhibited in the Musée du Louvre, Paris.
Condition Report:
With wear, marks, knocks and scratches as per age, handling, use, and cleaning.
FIGURES
The patina original but with wear from handling, dusting and age. Traces of gilded surface to flesh of figures and horses- most evident under stronger light. The reverse of each- which is less accessible to everyday handling and dusting- dirtier and with some surface build up of detritus from exposure. Both with some scratches and wear to plinth bases. Some surface marks, abrasions and scuffs from handling.
Trumpet, reins and caduceus look both be original to the pieces although the caduceus is cast slightly thicker and less refined.
Visible cast joints. Generally stable and with little or no moment.
Male with some verdigris build up to recessed areas. Both with some surface streaking.
bronzes approximately 111cm high
marble bases 15cm high, 81.5cm wide, 33.5cm deep
modern stands 38cm high, 105cm wide, 56cm deep
approximately 164cm high overall
Each equestrian figure is approximately 140-180KG. These will require specialist, careful courier/transport and collection.
BASES
Marble bases are a supporting frame, just edge panels- no marble inset top. Both have edge and corner chips.
Wooden bases with wear from handling, footfall and domestic use. These are wired for electricity but are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use
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.
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AFTER THE ANTIQUE- A GILT BRONZE FIGURE OF 'DIANA GABII'
FRENCH, MID/LATE 19TH CENTURY
Cast by Sauvage, various inscriptions to reverse
43cm high
Together with a brass 'Petrarch inkwell' 19th century,
Interior of lid with faint Petrarch verse inscription
19cm high
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4,000 - 6,000 GBP
TOM SACHS (AMERICAN B. 1966)
UNTITLED (9MM PISTOL)
Mixed media
Signed twice with initials, inscribed, titled and dated 2004
Height inc. base 26.5cm (10¼in.)
Provenance:
Sperone Westwater, New York
Acquired from the above in 2006
The internationally renowned artist Tom Sachs has courted controversy for three decades since the display of Hello Kitty Nativity at Barneys New York. Sachs has exhibited at MoMA, the Centre Pompidou, and Mary Boone; he is represented by Thaddeus Ropac and Tomio Koyama Gallery, among others. The artist has also collaborated with Nike to produce shoes that relate to his enduring fascination with space travel and moon landings. The works that accompanied Sachs's rise to prominence in the 1990s, such as Hermès Hand Grenade , married luxury and violence. Though these interests remain prominent in Sachs's œuvre, they begin to diverge: increasingly, high fashion is paired with popular consumer culture, while symbols of aggression are filtered through a hands-on creative process. It is in this vein that the present work embraces postmodern bricolage, literally pedestalising a pistol, which Sachs first improvised in a crude but functional form in 1995. Far from a simple endorsement of the Second Amendment, the mixed media composition interrogates gun culture and the status accorded to these instruments of violence. Few artists are able to sustain such incisive scrutiny of modern culture - fewer still with Sachs's trademark irreverence.
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AFTER MATHURIN MOREAU (1822-1912)- A BRONZE FIGURAL GROUP OF A YOUNG WOMAN AND BIRD
SUSSE FOUNDRY CAST, MID/LATE 19TH CENTURY
Signed to cast and with foundry marks for Susse Frères, on circular revolving socle
61cm high overall
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AFTER THE ANTIQUE- AN ITALIAN GRAND TOUR BRONZE FIGURE OF NARCISSUS
NAPLES, LATE 19TH CENTURY
After the figure excavated in the Villa of Narcissus, Pompeii
61cm high
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50,000 - 80,000 GBP
λ OLAFUR ELIASSON (ICELANDIC-DANISH B. 1967)
'SQUARE SPHERE', 2007
Stainless steel mirrors and bronzed brass
Diameter 90cm (35¼in.)
Executed in 2007. This work is number 3 in an edition of 10 + 2ap.
This work is accompanied by a certificate of authenticity signed by the artist.
Provenance:
neugerriemschneider, Berlin
Acquired from the above in 2007
An Icelandic-Danish artist of international renown, Olafur Eliasson is celebrated for his installations, from small sculptures to immersive public experiences such as The weather project, 2003 at the Tate Modern. He has won the Eugene McDermott Award in the Arts and the Praemium Imperiale; MoMA, ZKM, MCA, and MAM Paris have all exhibited his work. The Studio Olafur Eliasson has expanded over time and become a hub for conducting experiments, testing designs, and realising architectural projects. The artist's highly ambitious and influential practice has resulted in many prominent commissions, including the Mies van der Rohe award-winning Harpa concert hall and The New York City Waterfalls, 2008 . What unites Eliasson's diverse œuvre is his focus on spatiality and atmospheric effects. In part, Square sphere is a cerebral, paradoxical investigation into the geometric forms that so fascinated the Renaissance masters. It is also a rare and attractive centrepiece from an edition of ten with two artist's proofs, one that fragments and recomposes its environment, in line with Eliasson's investigations into the nature of perception.
Photo credits:
Installation view: Staatsoper Unter den Linden, Berlin, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur Eliasson
Photo: Jens Ziehe, 2015 © 2007 Olafur Eliasson
Installation view: Studio Olafur Eliasson, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur Eliasson
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1,500 - 2,000 GBP
λ UWE HENNEKEN (DANISH B. 1974)
V.O.T.E. 31-2, 2007
Painted bronze and wood
60 x 47.5 x 36cm (23½ x 18½ x 14 1/4in.)
This work is edition 2 of 5.
Provenance:
Meyer Riegger, Berlin
Acquired from the above in 2007
Born and based in Germany, Uwe Henneken is particularly known for his vibrant landscape paintings. The artist is represented by Choi and Choi, Galerie Gisela Capitain, and Gether Contemporary; he has exhibited at Almine Rech and Rodolphe Janssen. As Henneken's pictorial iconography of itinerant shamans and winding paths suggests, he is preoccupied with travel and transition. The V.O.T.E. sculpture series marks a departure from these trademark canvases, as grotesque, rather pitiful figures peek over the edge of their trunks, mouths agape in disappointment, even despair. The suitcase returns as a symbol in Henneken's 2024 painting Wheels of Life (after Marion Adnams) , only that in V.O.T.E. 31-2 is sturdier: an ammunition crate, or perhaps - in a reference to its title - a ballot box? Indeed, the frightened character could well be scanning no man's land from a dugout, protected only by its makeshift helmet. A shade more earnest than Henneken's usual magical realism, this work may allude to the psychological baggage that accompanies humans as they journey from place to place.
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3,000 - 5,000 GBP
λ WALEAD BESHTY (BRITISH B. 1976)
NEW YORK, NEW YORK, 2006
Mixed media sculpture (24 karat gold, steel, nickel and acrylic)
Height 132cm (51¾in.)
From an edition of 3.
Provenance:
Wallspace, New York
Private collection, New York
Sale, Phillips de Pury, New York, 15 May 2009, lot 103
Condition Report:
Light surface dirt throughout. Some surface scratches to the gold base, most notable surrounding the base of the pointed structure.
Condition Report Disclaimer
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NATHAN MABRY (AMERICAN B. 1978)
IT IS WHAT IT IS (HOW MANY LICKS DOES IT TAKE) 2007
Terracotta and steel
Height 112cm (44in.)
The Los Angeles-based sculptor Nathan Mabry is irreverent and intellectual in equal measure. He has exhibited at Praz-Delavallade and the Nelson Atkins Museum of Art; his works can be found in the permanent collections of the Whitney, LACMA, and the Hammer Museum. Mabry's is a syncretic world: he marries ethnic tradition and modern culture with contemptuous ease. The artist is just as likely to turn to pre-Columbian pottery as the minimalism of Donald Judd and John McCracken, often within the same work. Mabry's It Is What It Is series is the embodiment of his practice: referential, erotic, provocative, visually appealing. The suggestive Burgessian title of It Is What Is (The Old In and Out) pertains to its figures' obscene, though subtle, hand gestures. How Many Licks Does It Take is altogether more explicit in its iconography: a strigine countenance gives way to a phallic shaft, forming a crude amphora. The use of terracotta to realise pagan symbolism is deceptively atavistic; Mabry highlights the abiding transcendence of values and beliefs without calling for a return to the past.
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2,000 - 3,000 GBP
λ JIM LAMBIE (BRITISH B. 1964)
DANCETERIA 1, 2006
Broken mirror pieces, wooden chair, leather handbag and glue
145 x 76cm (57 x 29¾ in.)
Provenance:
Sadie Coles HQ, London
Acquired from the above in 2006
Exhibited:
Basel, Art Basel, Sadie Coles HQ, 2006
The versatile Glaswegian artist Jim Lambie is known for his spatially conscious works. Lambie was the first artist to represent Scotland in the 2003 Venice Biennale and was shortlisted for the Turner Prize in 2005; he has exhibited at Transmission Gallery, MoMA, and Tate Liverpool. His most celebrated installations, such as Zobop , show a keen sensitivity to their surroundings and audience. Subtlety is not Lambie's brand: a part-time DJ, the artist often incorporates glitter, vibrant hues, and musical references that enliven any room. Danceteria comprises several wall-mounted ensembles in which furniture and fashion combine to form dazzling decorative sculptures. The handbag in this series recurs in Four to the Floor , a large ceramic bird sculpture that constitutes another example of Lambie's characteristic location of excitement in the everyday. Whether an incitement to self-reflection or simply a game of musical chairs taken to the extreme, Danceteria 1 is sure to bring the spirit of the disco to any exhibition space.
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2,000 - 3,000 GBP
λ DANIEL SILVER (BRITISH B. 1972)
UNTITLED, 2009
Marble, concrete and painted wood
Height 175cm (68¾in.)
Provenance:
Galleria Suzy Shammah, Milan
Acquired from the above in 2009
Working chiefly in sculpture, Daniel Silver filters his classical and modernist influences through a unique formal language. He is represented by Frith Street Gallery; his work has been exhibited at Saatchi Gallery, Whitechapel Gallery, and the State Hermitage Museum. At points, Silver's figurative sculptures recall the elegant busts of antiquity. Elsewhere, their urgent textures recall the immediacy of such artists as Jacob Epstein and Henri Gaudier-Brzeska. Silver's investigations into the psychology of representing the human body, especially the head, are often marked by a fragmentary quality. The present work resists the identification of its subject, betraying only as much as it conceals. It reflects a perennial concern of Silver's - the Freudian unconscious - in suggesting the limitations of portraiture. In its rough-hewn state, the sculpture recalls such precedents as Michelangelo's Atlas Slave : it asks the viewer whether the artist truly controls his medium or, as Leibniz argues, merely realises the marble's innate potential.
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800 - 1,200 GBP
λ PIA STADTBAUMER (GERMAN B. 1959)
ANDROGYNE, TWO FIGURES
Mixed media sculpture
Each 185cm (72¾in.) High (2)
Executed in 1993.
Provenance:
Sale, Christie's, Post-War & Contemporary Art, 6 April 2005, lot 193
Acquired from the above by the present owner
The German artist Pia Stadtbäumer is known for her figurative sculptures and installations. A student of the Kunstakademie Düsseldorf and a professor at the Hamburg University of Fine Arts, Stadtbäumer's style and subject emerged early in her career. Though they are grounded in sound anatomical study and compelling detail, there is a certain strangeness to Stadtbäumer's life-size sculpted figures. Whether these are adults with childlike features or, as in this case, hermaphroditic composites, the artist challenges preconceived notions of human representation. The defiant posture of this pair is a testament to Stadtbäumer's assertive, single-minded practice. In a sense, Stadtbäumer reverses the Renaissance paradigm according to which artists 'considered the female [physique] inferior to the male' (Kenneth Clark, The Nude , 330). Where Michelangelo endows masculine physiques with female markers of sex, Stadtbäumer does the opposite. Her rendering of the human body updates this figurative tradition in line with contemporary revisions of gender norms.
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Estimate
15,000 - 25,000 GBP
THEASTER GATES (AMERICAN B. 1973)
STAND-INS FOR A PERIOD OF WRECKAGE 10 & 24, 2011
White concrete and porcelain
Height 122.5cm (48in.) and 105cm (41¼ in.) (2)
Provenance:
Kavi Gupta, Chicago/Berlin
Acquired from the above in 2011
Exhibited:
Miami, Art Basel Miami Beach, 2011
Chicago-born Theaster Gates works to uplift underprivileged groups, especially the African-American community, by radically upending artistic conventions. Represented by White Cube, Gates has exhibited internationally; his works can be found in the Kunstmuseum Basel, LACMA, Whitney Museum, and the Tate. His emphasis on collective engagement has resulted in such works as Black Vessel for a Saint , which saw the artist involve local residents in working with repurposed materials, as he does here. From a distance, these imposing columns - drawing on Gates's training as an urban planner - give the impression of solidity. Yet, upon approach, cracks begin to appear, laying bare the inner ceramic workings of this structure. Gates may be drawing attention to the precarity of social hierarchies - his insistent focus on art as a vehicle for equity awareness lends his work particular relevance today.
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λ HOSSEIN VALAMANESH (IRANIAN/AUSTRALIAN 1949-2022)
CHAI, AS CLOSE AS I COULD GET, 1998
MDF, enamel paint, fluorescent light, Perspex, water, glass, tea
Height 83cm (32½in.)
Edition of 5, plus A/P.
Saleroom notice: Please note the first line has been altered from the printed catalogue
Hossein Valamanesh (1949-2022) was an Iranian-Australian artist particularly known for his work in sculpture and installation. Born in Tehran, Valamanesh emigrated to Perth after completing his artistic studies. He spent time in Aboriginal communities before settling in Adelaide, where he would rise to prominence. Valamanesh never lost sight of his native Persian culture, investing his works with commentary on identity and nationhood. The artist's œuvre is remarkable for its assured minimalism and use of natural materials, as well as poetry and calligraphic text. A learned, literary mind, Valamanesh never shrinks from grand ontological questions, employing circular motifs to reflect his belief in the unity of Man and nature. The artist suffered a heart attack in 1995, which prompted him to engage with themes of mortality and transience. Valamanesh is survived by his wife, Angela, with whom he undertook numerous public commissions. His works have been exhibited internationally, including at Grey Noise, Dubai, Galerie Tanit, Munich, and the Institut des Cultures d'Islam, Paris. Valamanesh's work can be found in all Australian state collections, as well as the Kadist Art Foundation, Paris, and the Sara Hildén Art Museum, Tampere. He is the recipient of numerous awards, such as the Grand Prize at the 8 th Asian Biennial (1997) and the Smithsonian Artist Research Fellowship (2014); in 2010, he was declared a Member of the Order of Australia.
It is no coincidence that Chai, as close as I could get figures prominently on the cover of the artist's 2011 monograph, Hossein Valamanesh: Out of Nothingness . The installation calls forth familiar descriptors: spiritual, ethereal, poetic, understated. Visually inspired by a glass floating in a bubbly sink, Chai embodies the humility one has come to expect of Valamanesh's work. (1) In accessible formal language, this installation invites the viewer to resolve its title. Whereto is Valamanesh getting close? How does Chai answer this question? The artist's practice owes itself to many quarters: Arte Povera, Persian poetry, Sufi philosophy, Aboriginal Australia. The diversity of Valamanesh's references reflects his own composite identity, while his use of tea conjures up associations with trade and travel. Chai may be read as an eloquent and at least partly autobiographical commentary on migration. The tea hovers above the water, bathing in its light. The brightness and purity of this arrangement elevate the everyday to an almost religious experience, recalling the Islamic practice of wuḍūʾ and baptismal fonts. Chai is a monument to the transubstantial process of uprooting and resettling, inspiring a sense of what critics have termed 'cosmopolitan belonging,' fraught and challenging though it may prove. (2) Here, tea and water have achieved comfortable, amicable proximity, though they will never make contact. Perhaps - as the unmixed liquids imply - total assimilation is unlikely. The tranquil equilibrium of Chai suggests that this is no cause for regret. Rather, as Valamanesh's life and work demonstrates, cultural integration is possible, desirable even, when one settles in a new land without ever losing sight of the first.
Here, the floating glass is held in delicate suspension, its contents recommending that we pause, sip, and breathe for a moment. As the great astrologer-poet Omar Khayyám once intoned, 'Each Morn a thousand Roses brings, you say: / Yes, but where leaves the Rose of Yesterday?' (3) This life is fleeting, yes, but so too is the fear of its end; Valamanesh invites us to embrace existence in all its beautiful fragility. Chai is not so much a memento mori , then, as a whispered carpe diem . To borrow the title of Valamanesh's first European retrospective, itself an allusion to Sufi poetry, Puisque tout passe : this too shall pass.
1. Mary Knights and Ian North, Hossein Valamanesh: Out of Nothingness (Kent Town, S. Aust.: Wakefield Press, 2011), 88.
2. Marsha Meskimmon, Contemporary Art and the Cosmopolitan Imagination (United Kingdom: Taylor & Francis, 2010), 86.
3. Omar Khayyám, Rubáiyát of Omar Khayyám , trans. Edward FitzGerald (United Kingdom: University Press of Virginia, 1997), 97.
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ANTHONY PEARSON (AMERICAN B. 1969)
UNTITLED (POUR ARRANGEMENT) 2008
Bronze sculpture with silver nitrate patina, base, pedestal, two framed solarized silver gelatin photographs
Height inc. pedestal, base and bronze 144cm (56½in.), dimensions of framed photographs, each 42 x 35.5cm (16.5 x 14in.)
Provenance:
Marianne Boesky Gallery, New York
Acquired from the above in 2008
Working in his native Los Angeles, Anthony Pearson's contemplative, understated practice traverses several media. He has been the subject of solo shows at Contemporary Art Museum, St. Louis, and Midway Contemporary Art, Minneapolis; his work is in the permanent collections of the Hammer Museum and the Art Institute of Chicago. Allowing him to combine various techniques and materials, Pearson's 'arrangements' make for engaging juxtapositions of forms. Several such works share the specific hybrid configuration at hand - a sculpture flanked by two photographs - forming a contemporary garniture of sorts. Pearson calls attention to the materiality of his creation: the unyielding lines of the picture frames throw the uneven, oozing metal sculpture into sharp relief. Like the poured bronze, the solarised photographs toe the line between controlled and arbitrary processes, such as Pearson's carefully incised lines which are subjected to overexposure naturally creating a random pattern and effect
Condition Report:
Mould to one of the silver gelatin photographs, mount and backboard. Surface dirt throughout bronze, base and pedestal.
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λ BITA GHEZELAYAGH (ITALIAN B. 1966)
FELT MEMORIES IX, THE KING EMBRACING THE NATION
1001 Brass crowns on top, 3 stages of keys, tulips and wire mesh mounted in an acrylic box
128 x 128cm (50¼ x 50¼ in.)
Provenance:
Rose Issa Projects, London
Drawing on the artistic traditions of Iran, Bita Ghezelayagh works primarily in embroidery. Ghezelayagh has exhibited at the V&A and the San Antonio Museum of Art; her work can be found in the collections of the British Museum and the Farjam Foundation. Her series of felt garments are a musing on and a monument to the cultural heritage often overlooked in the face of modernisation. Ghezelayagh's creations share a visual language: the tulip motif references traditional Turkmen textiles, while the layered metal panels recall the scale armour of asbaran in their structured, regular arrangement. The ambiguity of this work's title, Felt Memories , reflects the complex materiality of an object bound up with nostalgia and a sense of identity. Felted by hand in local workshops, the tunic recalls those of Iranian shepherds, marrying practical and creative functions in a similar manner to the textiles of Ghezelayagh's inspiration Joseph Beuys. The artist's work is marked by a profound sense of respect for indigenous cultures, paying tribute to the methods and materials in which her practice is grounded.
Condition Report:
Work is mounted within a perspex box frame. Work appears to be in good original condition. The work has been structured with a piece of card within the robe which is maintaining the shape. The work has been attached to a piece of foam board which has either been attached with Velcro or clips to another piece of foam board attached to the mounting board. Please contact housesales@dreweatts.com with any further queries.
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THEASTER GATES (AMERICAN B. 1973)
STACK 6901.1, 2011
Concrete, pulverised glass and carpet
Height 125cm (49in.)
Provenance:
Kavi Gupta, Chicago/Berlin
Acquired from the above in 2012
Chicago-born Theaster Gates works to uplift underprivileged groups, especially the African-American community, by radically upending artistic conventions. Represented by White Cube, Gates has exhibited internationally; his works can be found in the Kunstmuseum Basel, LACMA, Whitney Museum, and the Tate. His emphasis on collective engagement has resulted in such works as Black Vessel for a Saint , which saw the artist involve local residents in working with repurposed materials, as he does here. Stack 6901.1.2011 owes its title to the date of creation and 6901 Dorchester, a building repurposed by Gates to serve as a filmmaking studio for the African-American community, befitting his commitment to social practice. Gates's explosive arrangement of pulverised glass recalls the property damage that has resulted from recent bouts of civil unrest in North America. The disastrous consequences of these riots reflect fraught race relations: Gates, in his constant effort to challenge institutional biases, is keenly sensitive to this.
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λ CHRISTOPHER DEAN (BRITISH B. 1955)
UNTITLED (ABSTRACT HEAD)
Stone
Height 80.5cm (31½in.)
Provenance:
Acquired direct from the artist in 2015
A versatile sculptor based in Stoke-on-Trent, Christopher Dean has worked in bronze, stone, and digital design. Dean has also lent his technological talents to virtual museum projects, allowing those with visual impairments to learn using haptic feedback. Having practiced at various scales, Dean is a master both of detail and grand composition. Many of his works incorporate architectural motifs and classical allusions, reflecting diligent study and an eye for anatomy. The monumentality of Abstract Head is thrown into sharp relief by the large, unembellished form of the neck. Furthermore, the fine description of drapery makes for rewarding viewing upon approach. The winding spiral structures recall the elegant volutes of Ionic columns, while the 'head' itself resembles feathers or a ball of flame. With a healthy respect for tradition, Dean updates conventional renderings of the bust to evoke a presence in equal parts enigmatic and impressive.
Condition Report:
Light surface dirt throughout. Minor marks and abrasions across the surface commensurate with use. (This work was situated on the bar at 28 South Street)
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NATHAN MABRY (AMERICAN B. 1978)
MUDFLAP (WHATEVER)
Rubber and metal
63 x 48cm (24¾ x 18¾ in.)
Executed in 2007, this work is number 3 from an edition of 4 + 2 Artist Proofs.
The Los Angeles-based sculptor Nathan Mabry is irreverent and intellectual in equal measure. He has exhibited at Praz-Delavallade and the Nelson Atkins Museum of Art; his works can be found in the permanent collections of the Whitney, LACMA, and the Hammer Museum. Mabry's is a syncretic world: he marries ethnic tradition and modern culture with contemptuous ease. The artist is just as likely to turn to pre-Columbian pottery as the minimalism of Donald Judd and John McCracken, often within the same work. Mudflap (Whatever) is a typically uneasy collocation: formally, a harmonious union of distinct referents; semantically, rather more difficult to decipher. The mudflap - an extension of the vehicle mudguard, designed to shield other drivers from debris - is a strange point of departure. Where most such features would be emblazoned with company logos, Mabry has carved runic script into the surface. Frustrating the function for which his source object was designed, the artist creates an iconography of his own. He thus satirises advertising while problematising the relationship between form and function.
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λ DANIEL SILVER (BRITISH B. 1972)
UNTITLED 2009
Marble and painted wood
Height 155cm (61in.)
Provenance:
Galleria Suzy Shammah, Milan
Acquired from the above in 2009
Working chiefly in sculpture, Daniel Silver filters his classical and modernist influences through a unique formal language. He is represented by Frith Street Gallery; his work has been exhibited at Saatchi Gallery, Whitechapel Gallery, and the State Hermitage Museum. At points, Silver's figurative sculptures recall the elegant busts of antiquity. Elsewhere, their urgent textures recall the immediacy of such artists as Jacob Epstein and Henri Gaudier-Brzeska. Silver's investigations into the psychology of representing the human body, especially the head, are often marked by a fragmentary quality. The present work resists the identification of its subject, betraying only as much as it conceals. It reflects a perennial concern of Silver's - the Freudian unconscious - in suggesting the limitations of portraiture. In its rough-hewn state, the sculpture recalls such precedents as Michelangelo's Atlas Slave : it asks the viewer whether the artist truly controls his medium, or as Leibniz argues, merely realises the marble's innate potential.
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λ CHRISTOPHER DEAN (BRITISH B. 1955)
UNTITLED (HEAD)
Stone
Height 52cm (20¼in.)
Provenance:
Acquired direct from the artist in 2015
A versatile sculptor based in Stoke-on-Trent, Christopher Dean has worked in bronze, stone, and digital design. Dean has also lent his technological talents to virtual museum projects, allowing those with visual impairments to learn using haptic feedback. Having practiced at various scales, Dean is a master both of detail and grand composition. Many of his works incorporate architectural motifs and classical allusions, reflecting diligent study and an eye for anatomy.
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