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Download Catalogue RT A PORARY PORARY MODERN AND M Monday, 11th May 2015 Monday, CONTE MODERN AND CONTEMPORARY ART Lagos, Nigeria Monday, 11th May 2015 COVER BACK COVER MODERN AND LOT #78 LOT #77 BEN ENWONWU YUSUF GRILLO CONTEMPORARY ART HEAD OF CAROLINE TRULY HIJAB? 11th May 2015, 6 pm INSIDE FRONT COVER INSIDE BACK COVER AUCTION LOT #2 LOT #71 Monday, 11th May 2015 ANDREW ESIEBO BRUCE ONOBRAKPEYA The Wheatbaker HAUSA ROYAL GUARDS SAHELIAN MASQUERADE 4 Onitolo Road Ikoyi, Lagos, Nigeria OPPOSITE CONTENTS VIEWINGS LOT #83 Saturday, 9th May 2015, 11 am - 4 pm GEORGE OSODI Sunday 10th May 2015, 12 pm - 6 pm Monday 11th May 2015, 10 am - 1 pm EGUNGUN II AUCTIONEER John Dabney CONDITIONS OF SALE CONTACT US Acknowledgements Catalogue Production This auction is subject to All enquiries +234 1 774 0909 & Photography important Notices and Nana Sonoiki +234 805 250 0195 Written Contributions from: Conditions of Sale. Sumbo Biobaku +234 805 509 9096 Anna Evi-Parker (AP) Sumbo Biobaku Dr. Chika Okeke-Agulu, Assistant Professor, Princeton University (CO) Aditya Chellaram Prof. Jerry Buhari (JB) Kavita Chellaram Joseph Gergel (JG) Anna Evi-Parker George Osodi Various Artists as indicated by the term “Artist’s Statement” Nana Sonoiki Emmanuel Tonato Design: 70PR Design, Mumbai, India View the catalogue and leave bids online at arthouse-ng.com All images and content (c)2008-2015, Arthouse Contemporary Ltd. Contents Title & Acknowledgements 2 Charity Sale 6 Main Sale 11 Terms and conditions 90 Absentee Bid form 94 Index 99 4 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 5 I S B E L Seeing is Believing G I E I N V Seeing is Believing is a global initiative to tackle avoidable blindness, and is a collaboration E I between Standard Chartered and the International Agency for Prevention of Blindness (IAPB) E N and its membership of eye health organisations. For more than a decade Seeing is Believing has G been supporting projects to tackle avoidable blindness and visual impairment. S To date, Seeing is Believing has raised over USD79 million against its target of USD100 million by 2020. Funds raised through Seeing is Believing represent the single largest cash contribution from the private sector to the development of eye health programmes through IAPB. As part of the Seeing is Believing programme, Standard Chartered pledges to match all donations until the target of USD100 million is reached. These lots have been generously donated by the artists in cause of the Seeing is Believing charity. In addition, no Buyer’s Premium will be added to the final price. C1 $100 MILLION BY 2020 TOLA WEWE (b.1959) IBEJI seeingisbelieving.org 2014 Teracotta on board 30½ x 30½ cm. (12 x 12 in.) each Signed and dated (lower right) ₦ 200,000-300,000 ($1,000-1,500 ) 6 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 7 Untitled-1 1 21/04/2015 11:23 C2 NIKE OKUNDAYE (b. 1959) SILKWORM TREE 2007 Pen and ink on paper 33 x 47 cm. (13 x 18½ in.) Signed and dated (lower left) ₦ 300,000-400,000 ($1,500-2,000) C3 OGBAMI ALENOSI (b.1982) HESITATION 2014 Mixed media on canvas 91½ x 91½ cm. (36 x 36 in.) C4 Signed and dated (lower right) MODUPEOLA FADUGBA (b. 1985) ₦ 300,000-500,000 LAZY SUNDAY ($1,500-2,500) 2013 Mixed media on canvas 112 x 110 cm. (44 x 43¾ in.) Signed and dated (lower right) ₦ 600,000-800,000 ($ 3,000-4,000) 8 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 9 1 MAIN SALE BEGINS 1 SEGUN AIYESAN (b.1971) OYIN MOMO 2015 Acrylic on textured canvas 122 x 122 cm. (48 x 48 in.) Signed and dated (lower left) ₦ 1,000,000-1,200,000 ($ 5,000-6,000) 10 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 11 3 2 3 RICHARDSON OVBIEBO (b. 1982) ANDREW ESIEBO (b.1978) LOVE STORY HAUSA ROYAL GUARDS 2015 2007 Mixed media Digital print on archival paper 80 x 124 x 6 cm. (31½ x 48¾ x 2.5 in.) edition 1 of 3 86.5 x 56 cm. (34 x 22 in.) Signed and dated (lower right) ₦ 500,000-650,000 ₦ 300,000-500,000 ($ 2,500-3,250) ($ 1,500 2,500) 12 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 13 4 6 DISEYE TANTUA (b.1974) CHARLES OKEREKE (b. 1966) MAN MUST WARK 2014 IMITATIVE INSTINCT Acrylic on canvas 2013 92 x 122 cm. (36 x 48 in.) C-print, edition 1 of 7 91½ x 61 cm. (36 x 24 in) Signed and dated (centre left) ₦ 400,000-600,000 ₦ 600,000-800,000 ($ 2,000-3,000) ($ 3,000-4,000) Artist’s Statement: I walk through life in search of interesting reminders for my coloured 5 diary. These drawings, like calligraphy, are mostly a selection of traditional proverbs made popular by headboards, street signs and the slogans on the bumpers of buses, taxis or 6 tricycles; an experiment and Artist’s Statement: The force of energy, very apparent as the tendency to replicate all research I have spent over a movements, notions, sounds and behavioral patterns in the visible environment, stored decade on. as accumulated repositories for growth and survival, is strongly evident during the infantile stage. This early period excludes any form of responsibility until the period of puberty when self-consciousness sets in, but is basically instinctive in approach and hence could be termed the imitative stage of formation. 7 4 5 7 5 FIDELIS ODOGWU (b. 1970) UCHE UZORKA (b. 1974) SAY IT LOUD UNTITLED 2014 2012 Metal Pen and ink on paper 81.5 x 84 cm. ( 32 x 33 in.) 90 x 103 cm. (35½x 40½ in.) Signed and dated (lower right) Signed and dated (lower centre) ₦ 600,000-800,000 ₦ 400,000-500,000 ($ 3,000-4,000) ($ 2,000-2,500) 14 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 15 9 9 Born in Ghana in 1945, Ato Delaquis has developed a diverse artistic 8 ATO DELAQUIS (Ghanaian b. 1945) practice throughout his distinguished career that includes abstraction, FRANCIS UDUH (b. 1964) naturalism and experimental realism. Delaquis uses an eclectic CHAKA S STRATEGY mix of materials and processes, including acrylics, watercolours, SYMBIOSIS 1992 graphite, and printmaking. His works are often focused on cityscapes, 2014 Acrylic on canvas ceremonial processions, and social activities as he captures the Fibre glass 71 x 86½ cm. (28 x 34 in.) movement and intensity of daily life in Ghana. He is particularly 168 cm. (66 in.) interested in the clash of cultures in urban city centers, highlighting the Signed and dated (lower left) juxtaposition between the traditional and the new. Signed and dated ( back of head) ₦ 600,000-800,000 Delaquis studied at the University of Science and Technology, ₦ 600,000-800,000 ($ 3,000-4,000) Accra, and at the Tyler School of Art in Pennsylvania, USA. He has ($ 3,000-4,000) 8 participated in numerous exhibitions in Ghana, Nigeria, Germany, USA and the UK. Delaquis has also served as the Dean of the College of Art at his alma mater. (JG) 16 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 17 10 10 11 Ablade Glover (b. 1934, Accra) is arguably the best known and most influential Ghanaian ALEX SHYNGLE (1957-2001) ABLADE GLOVER (b. 1934) modern painter. Following a one-year art training at the University of Science and Technology, Kumasi (1957-58), he travelled to England, attending the Central School of Art and Design in BEFORE THE GATE MARKET SCENE London (1959-62), and University of Newcastle-on-Tyne, Newcastle (1964-65). Returning to 1997 2012 Ghana, Glover spent the next twenty-two years as a professor in his alma mater at Kumasi, Oil on canvas Oil on canvas and in the early 1970s earned an MFA and PhD, respectively from Kent State University 134½ x 165 cm. (53 x 65 in.) 122 x 152½ cm. (48 x 60 in) and Ohio State University in the United States. Glover’s influence went beyond his career as a teacher. He founded the Artists Alliance Gallery, Accra—one of the few dedicated Signed and dated (centre right) Signed and dated (lower right) contemporary art venues in the Ghanaian capital city. Glover was one of the few Ghanaian artists collected by the Nigerian National Gallery of Art for its inaugural permanent collection. ₦ 2,200,000-2,800,000 ₦ 2,800,000-3,500,000 The two most consistent subjects in Glover’s painting are representations of the African ($11,000-14,000) ($ 14,000-17,500) woman, and areal views of crowds. Usually seen in profile, his elegantly dressed women are rendered with bold expressive strokes of paint, capturing the vivacity of the modern African woman. His crowd paintings, on the other hand, have most frequently depicted open, densely populated market scenes, but he has also painted beach scenes, sprawling townscapes filled with uniform low-rise buildings, and street scenes. Whatever his subject, the compositional approach is similar: he flattens or restricts both his areal and linear perspective, thus transforming his human figures and structures into all-over decorative patterns. In this large Market Scene (2012), thick rectangular yellow-brown-cream patches of paint around the top and vertical edges; but also vertical swatches and black dots, and circular dashes of paint in the central areas, summarily suggest market stalls, buyers and sellers, and display trays. Here, Glover is at the height of what one might call narrative pictorial abstraction. (CO) 18 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 19 12 14 DANJUMA KEFAS (b. 1958) PORTRAIT OF A TRADE 1992 Oil on canvas 122 x 75 cm.
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