DOCSLIB.ORG

Modern & Contemporary African

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern & Contemporary African Modern & Contemporary African Art New Bond Street, London | 3 October 2019 Modern & Contemporary African Art New Bond Street, London | Thursday 3 October 2019 at 4pm VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 27 September, +44 (0) 20 7447 7447 Giles Peppiatt MRICS LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8355 PLEASE NOTE THAT THERE IS Saturday 28 September, To bid via the internet please NO REFERENCE IN THIS 11am to 3pm visit bonhams.com Eliza Sawyer CATALOGUE TO THE PHYSICAL Sunday 29 September, +44 (0) 20 7468 5881 CONDITION OF ANY LOT. 11am to 3pm INTENDING BIDDERS MUST TELEPHONE BIDDING Monday 30 September, Helene Love-Allotey SATISFY THEMSELVES AS TO 9am to 4.30pm Bidding on telephone will only +44 (0) 20 7468 8213 THE CONDITION OF ANY LOT Tuesday 1 October, be accepted on lots with a lower AS SPECIFIED IN CLAUSE 14 estimate in excess of £1,000. 9am to 4.30pm [email protected] OF THE NOTICE TO BIDDERS Wednesday 2 October, CONTAINED AT THE END OF Please note that bids should be 9am to 3pm Nigeria THIS CATALOGUE. Thursday 3 October, submitted no later than 16:00 on the day prior to the sale. New Neil Coventry 9am to 12noon +234 811 0033792 As a courtesy to intending bidders must also provide proof bidders, Bonhams will provide a of identity when submitting bids. +27 761120171 SALE NUMBER [email protected] written Indication of the physical Failure to do this may result in condition of lots in this sale if a 25443 your bid not being processed. South Africa request is received up to 24 Penny Culverwell hours before the auction starts. ILLUSTRATIONS Live online bidding is available This written Indication is issued for this sale +27 71 342 2670 Front cover: lot 23 [email protected] subject to Clause 3 of the Notice Back cover: lot 20 Please email [email protected] to Bidders. with ‘live bidding’ in the subject Inside front cover: lot 46 Please see page 4 for bidder Inside back cover: lot 67 line 48 hours before the auction to register for this service. information including after-sale CUSTOMER SERVICES collection and shipment Monday to Friday 8.30 to 18.00 +44 (0) 20 7447 7447 REGISTRATION Please see page 4 for bidder IMPORTANT NOTICE information including after-sale Please note that all customers, collection and shipment. irrespective of any previous activity with Bonhams, are required to complete the Bidder Registration Form in advance of the sale. The form can be found at the back of every catalogue and on our website at www.bonhams.com and should be returned by email or post to the specialist department or to the bids department at [email protected] Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Sale Information BIDS BUYERS COLLECTION & STORAGE AND HANDLING VAT +44 (0) 20 7447 7447 STORAGE AFTER SALE CHARGES ON SOLD LOTS Will be applied at the current +44 (0) 20 7447 7401 fax All sold lots marked TP will be RETURNED TO CADOGAN rate on all above charges To bid via the internet please visit removed to Cadogan Tate from TATE www.bonhams.com 9am Friday 4 October 2019 The following symbol is & will be available for collection from Storage used to denote that VAT PAYMENTS Cadogan Tate from 9am Monday 7 Storage will be free of charge for is due on the hammer price Buyers October 2019. the first 14 calendar days from and and buyer’s premium +44 (0) 20 7447 7447 including the sale date Thursday +44 (0) 20 7447 7401 fax Collections are by appointment only 3 October 2019. † VAT 20% on hammer price & a booking email or phone call and buyer’s premium Sellers are required in advance to ensure Charges will apply from 9am Payment of sale proceeds lots are ready at time of collection, Thursday 17 October 2019. * VAT on imported items at +44 (0) 20 7447 7447 photographic ID will be required at a preferential rate of 5% on +44 (0) 20 7447 7401 fax time of collection & if a third party is After the storage-free period the hammer price and the collecting written authorisation from following charges apply: prevailing rate on buyer’s premium VALUATIONS, the successful buyer is required in TAXATION & HERITAGE advance. Photographic ID of the Pictures and small objects: Y These lots are subject to +44 (0) 20 7468 8340 third party will requested at the time £3.03 per day + VAT CITES regulations, please +44 (0) 20 7468 5860 fax of collection. Furniture, large pictures and large read the information in the [email protected] objects: £6.05 per day + VAT back of the catalogue. To arrange a collection time please (Please note: Charges apply every CATALOGUE SUBSCRIPTIONS send a booking email to: day including weekends and Payment in Advance To obtain any Bonhams [email protected] or Public Holidays) (Telephone to ascertain amount due) catalogue or to take out telephone call to +44 (0)800 9886 by: cash, cheque with banker’s an annual subscription: 100 to ensure lots are ready at time Handling card, credit or debit card. Subscriptions Department of collection. After the first 14 calendar days +44 (0) 1666 502200 following the sale, the following Payment at time of collection by: +44 (0) 1666 505107 fax All other sold lots will remain in handling charges apply per Lot: cash, cheque with banker’s card, [email protected] the Collections room at Bonhams Pictures and small objects: credit or debit card. New Bond Street until 5.30pm £22.50 + VAT SHIPPING Wednesday 16 October 2019. Furniture, large pictures and large For information and estimates Lots not collected by this time will objects: £45.00 + VAT on domestic and international be returned to the department shipping as well as export storage charges may apply. Loss and Damage licenses please contact Alban Extended Liability cover for the Shipping on +44 (0) 1582 493 099 value of the Hammer price will [email protected] be charged at 0.6% but will not exceed the total value of all other transfer and storage charges. IMPORTANT INFORMATION The United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue. Lagos Live Link Thursday 3 October 2019 at 4.30pm (Lagos time) 29 Raymond Njoku, Lagos For those unable to personally attend the auction at our ENQUIRIES BEN ENWONWU New Bond Street gallery in London, we will again be offering Neil Coventry, Tutu those in Lagos the opportunity to attend a live link at the Nigeria Representative Sold for £1,208,750 Wheatbaker Hotel, Ikoyi. There you will be able to share in +234 (0)81 1003 3792 the excitement of the auction and participate through the live [email protected] video and audio simulcast. Your bids will be relayed directly to the London saleroom by the auctioneer in Lagos. Prices shown include buyer’s premium. Details can be found at bonhams.com 1 1 IRMA STERN (SOUTH AFRICAN, 1894-1966) Provenance Portrait of an Indian woman Collection of Mr. Harold Hanson (1904-1973). signed and dated ‘Irma Stern/ 1945’ (upper right) By direct descent. watercolour 37 x 29.5cm (14 9/16 x 11 5/8in).(excluding frame). Harold Hanson was one of the most highly regarded lawyers practicing mounted in artist’s original raffia frame. in South Africa in the 1950s and 60s. He studied at the University of Witwatersrand and was called to the bar in 1926. £20,000 - 30,000 Harold was a fervent advocate for civil liberty and on a number of US$25,000 - 37,000 occasions agreed to defend the accused without a fee. He was best €22,000 - 33,000 known for his contribution to the Rivonia Trial in June 1964, in which he argued mitigation for Nelson Mandela and nine other men who had been accused of sabotage and conspiracy to overthrow the State. For details of the charges payable in addition to the final Hammer Price of each Lot 6 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 2 2 It was during this trial that Harold established a friendship with the ALFRED NEVILLE LEWIS (SOUTH AFRICAN, 1895-1972) young advocate, Sydney Kentridge. Kentridge later acknowledged the Portrait of a Young Malay Girl importance of the older man’s guidance, crediting him as an invaluable signed ‘Neville Lewis’ (upper right) mentor: oil on canvas 59.5 x 49cm (23 7/16 x 19 5/16in). “Harold was one of the most extraordinary advocates I have ever heard in any court. It is not easy to analyse or even describe the essence of his brilliance. His performance in court was in every case based on £10,000 - 15,000 meticulous preparation...yet it was always delivered with spontaneous US$12,000 - 18,000 eloquence which gripped the listener. He was always able to command €11,000 - 17,000 the interest, if not the sympathy, of the judges.” Harold Hanson also had a keen appreciation for the arts. This painting was acquired by him along with another gouache by Irma Stern (lot 29) circa 1950s, and has been in the family’s collection ever since. For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.
Load more

Recommended publications
  • And YOU Will Be Paying for It Keeping the Lights On
    AFRICA’S BEST READ October 11 to 17 2019 Vol 35 No 41 mg.co.za @mailandguardian Ernest How rugby After 35 Mancoba’s just can’t years, Africa genius give has a new acknowledged racism tallest at last the boot building Pages 40 to 42 Sport Pages 18 & 19 Keeping the lights on Eskom burns billions for coal And YOU will be paying for it Page 3 Photo: Paul Botes Zille, Trollip lead as MIGRATION DA continues to O Visa row in Vietnam Page 11 OSA system is ‘xenophobic’ Page 15 tear itself apart OAchille Mbembe: No African is a foreigner Pages 4 & 5 in Africa – except in SA Pages 28 & 29 2 Mail & Guardian October 11 to 17 2019 IN BRIEF ppmm Turkey attacks 409.95As of August this is the level of carbon Kurds after Trump Yvonne Chaka Chaka reneges on deal NUMBERS OF THE WEEK dioxide in the atmosphere. A safe number Days after the The number of years Yvonne Chaka is 350 while 450 is catastrophic United States Chaka has been married to her Data source: NASA withdrew troops husband Dr Mandlalele Mhinga. from the Syria The legendary singer celebrated the border, Turkey Coal is king – of started a ground and couple's wedding anniversary this aerial assault on Kurdish week, posting about it on Instagram corruption positions. Civilians were forced to fl ee the onslaught. President Donald Trump’s unex- Nigeria's30 draft budget plan At least one person dies every single day so pected decision to abandon the United States’s that we can have electricity in South Africa.
    [Show full text]
  • The South African Sale London Wednesday 19 March 2014 W1S 1SR
    Bonhams 101 New Bond Street the south african sale London Wednesday 19 March 2014 W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax the south african sale Ӏ New Bond Street, London Ӏ Wednesday March 19 2014 21431 International Auctioneers and Valuers – bonhams.com lot 15 Irma Stern Zanzibar Woman the South afrIcan Sale Wednesday 19 March at 2pm New Bond Street, London PhyI S cal condItIon of Vw Ie Ing enquIrIeS lotS In thIS auctIon Sunday 16 March Giles Peppiatt MRICS 11.00 to 15.00 +44 (0) 20 7468 8355 PLEASE NOTE THAT THERE IS Monday 17 March NO REFERENCE IN THIS 9.00 to 16.30 Hannah O’Leary CATALOGUE TO THE PHYSICAL Tuesday 18 March +44 (0) 20 7468 8213 CONDITION OF ANY LOT. 9.00 to 16.30 INTENDING BIDDERS MUST Wednesday 19 March Elizabeth Callinicos SATISFY THEMSELVES AS TO 9.00 to 12 noon +44 (0) 20 7468 8216 THE CONDITION OF ANY LOT AS SPECIFIED IN CLAUSE 14 PreVIew of hIghlIghtS [email protected] OF THE NOTICE TO BIDDERS 580 Madison Avenue, New York CONTAINED AT THE END OF 19 - 21 February Jonathan Horwich THIS CATALOGUE. 10.00 to 17.00 Global Director, Picture Sales +44 (0) 20 7468 8280 As a courtesy to intending Sale number [email protected] bidders, Bonhams will provide a 21431 written Indication of the physical South Africa condition of lots in this sale if a catalogue Penny Culverwell request is received up to 24 £25.00 +27 71 342 2670 hours before the auction starts.
    [Show full text]
  • Anc Today Voice of the African National Congress
    ANC TODAY VOICE OF THE AFRICAN NATIONAL CONGRESS 14 – 20 May 2021 Conversations with the President South Africa waging a struggle that puts global solidarity to the test n By President Cyril Ramaphosa WENTY years ago, South In response, representatives of massive opposition by govern- Africa was the site of vic- the pharmaceutical industry sued ment and civil society. tory in a lawsuit that pitted our government, arguing that such public good against private a move violated the Trade-Relat- As a country, we stood on princi- Tprofit. ed Aspects of Intellectual Property ple, arguing that access to life-sav- Rights (TRIPS). This is a compre- ing medication was fundamental- At the time, we were in the grip hensive multilateral agreement on ly a matter of human rights. The of the HIV/Aids pandemic, and intellectual property. case affirmed the power of trans- sought to enforce a law allowing national social solidarity. Sev- us to import and manufacture The case, dubbed ‘Big Pharma eral developing countries soon affordable generic antiretroviral vs Mandela’, drew widespread followed our lead. This included medication to treat people with international attention. The law- implementing an interpretation of HIV and save lives. suit was dropped in 2001 after the World Trade Organization’s Closing remarks by We are embracing Dear Mr President ANC President to the the future! Beware of the 12 NEC meeting wedge-driver: 4 10 Unite for Duma Nokwe 2 ANC Today CONVERSATIONS WITH THE PRESIDENT (WTO) Agreement on Trade-Re- ernment announced its support should be viewed as a global pub- lated Aspects of Intellectual Prop- for the proposal, which will give lic good.
    [Show full text]
  • November 2020 Patrons: Sam Nhlengethwa, Conrad Theys, Hayden Proud
    www.sasa-artists.co.za SASA NEWSLETTER www.facebook.com/SASArtists http://sasartists.blogspot.com November 2020 Patrons: Sam Nhlengethwa, Conrad Theys, Hayden Proud President: Audrey Innes - [email protected] Secretary: Nicole Riedler – PO Box 2574, Clareinch, 7740. 071 496 1029 [email protected] Treasurer: Mike Forrester – PO Box 2574, Clareinch, 7740. Tel 021 761 6357 [email protected] Diary NOVEMBER Monday 16 Plein Air Outing: Chart Farm Saturday 21 Art in the Park: Rondebosch Park Monday 30 Members’ Exhibition, Kirstenbosch Thursday 26 Monthly Meeting at the Athenaeum – Eleanor Palmer and end of year Party DECEMBER Wednesday 9 Closing of Members Exhibition, Kirstenbosch JANUARY Thursday 28 Talk/Presentation with Dave Buckley Dare to risk public criticism – Mary Kay Ash Letter from the President Dear Members, Thankfully the sun is out! Until it rains again – let’s hope Big shout out to our members who have been featured the temperature doesn’t drop too far down the in the SA Artist magazine during this year. Sue Paulson thermostat just yet. and Ali-Lauren Melk are featured artists in the latest magazine (issue #55). This year alone other artists who I’m very much looking forward to our final and ‘LIVE’ have appeared on the pages include Karen Burns (who Members Meeting on 26 November and seeing those was featured on the cover), Joanna Cooke, Sonja Frenz, who feel safe enough to venture out. We will be doing Jeremy Day, Willie Jacobs, Di Metcalf – the list goes on our utmost to ensure sanitizing and social distancing and on….
    [Show full text]
  • Sue Williamson BIOGRAPHY
    Sue Williamson BIOGRAPHY Sue Williamson (b. 1941, Lichfield, UK) emigrated Passage, a large- scale installation of shackled, with her family to South Africa in 1948. Trained as suspended glass bottles engraved with details a printmaker, Williamson also works in installation, taken from 19th century slave trade documents. photography and video. In the 1970s, she started This installation was also exhibited the previous to make work which addressed social change year at Art Basel in Switzerland and at the Kochi- during apartheid and by the 1980s Williamson was Muziris Biennale in India in 2018. well known for her series of portraits of women involved in the country’s political struggle. Williamson’s works feature in numerous public collections across the globe, including those at Referring to her practice, Williamson says: “ I am the Museum of Modern Art, New York, USA, Tate interested in objects, often very humble ones, and Modern, London, UK, Victoria & Albert Museum, the stories behind them. I am interested in the London, UK, National Museum of African Art, media, in the subtext that runs behind newspaper Smithsonian Institution, Washington D.C., USA, reports, and in books which may seem mundane Wifredo Lam Centre, Havana, Cuba, Iziko South like a tourist guidebook. But most of all I am African National Gallery, Cape Town, South Africa, interested in people, in their stories, and in the and Johannesburg Art Gallery, South Africa. exact words they use to describe their memories, experiences and expectations’. Williamson has received various awards and fellowships such as the Bellagio Creative Arts Williamson has avoided the rut of being caught in Fellowship 2011, Italy, Rockefeller Foundation, the an apartheid-era aesthetic, constantly re-assessing Visual Artist Research Award Fellowship 2007, changing situations, and finding new artistic Smithsonian Institution, Washington D.C., USA languages to work out her ideas.
    [Show full text]
  • Postmodern Orientalism. William Gibson, Cyberpunk and Japan
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. POSTMODERN ORIENTALISM William Gibson, Cyberpunk and Japan A thesis presented in fulfillment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Albany, New Zealand Leonard Patrick Sanders 2008 ABSTRACT Taking the works of William Gibson as its point of focus, this thesis considers cyberpunk’s expansion from an emphatically literary moment in the mid 1980s into a broader multimedia cultural phenomenon. It examines the representation of racial differences, and the formulation of global economic spaces and flows which structure the reception and production of cultural practices. These developments are construed in relation to ongoing debates around Japan’s identity and otherness in terms of both deviations from and congruities with the West (notably America). To account for these developments, this thesis adopts a theoretical framework informed by both postmodernism as the “cultural dominant” of late capitalism (Jameson), and orientalism, those discursive structures which produce the reified polarities of East versus West (Said). Cyberpunk thus exhibits the characteristics of an orientalised postmodernism, as it imagines a world in which multinational corporations characterised as Japanese zaibatsu control global economies, and the excess of accumulated garbage is figured in the trope of gomi. It is also postmodernised orientalism, in its nostalgic reconstruction of scenes from the residue of imperialism, its deployment of figures of “cross-ethnic representation” (Chow) like the Eurasian, and its expressions of a purely fantasmatic experience of the Orient, as in the evocation of cyberspace.
    [Show full text]
  • Art Collection 2014 Introduction to the Ellerman House Art Collection
    Art Collection 2014 introduction to the ellerman house art collection The Ellerman House art collection takes its visitors to this fine hotel, Progressive identification by artists, such as Walter Battiss and Alexis on a journey that explores the huge social and cultural shift that South Preller, with the essential nature of the land and its peoples- its African art has made from the mid-nineteenth century to the present. Africanism, further reinforced the unique qualities of this land. The The art in this collection tells of the character of our land and the emergence of black pioneering artist like Gerard Sekoto and George expression of our unique South African experience. Pemba began a process of cultural integration of the country’s ethnic communities into a unified South African art. From the time of the early pictorial historians of the mid-19th Century, such as Thomas Bowler, one acknowledges that this country In the Ellerman House Contemporary gallery, an eclectic, outspoken has a flavour of its own – an essential nature that distinguishes it from and energetic generation of current artists, such as Wayne Barker, other places. Phillemon Hlugwani, Louis Maqhubela and Angus Taylor are pushing the boundaries of the ordinary in order to create work that explores Communities in South Africa were extremely physically and culturally relevant issues in post-modern South African society. isolated from international centres of artistic innovation in the early 20th Century - a time before instantaneous globalization of today. The work of all these artists that can be seen in the Ellerman House The Ellerman House collection traces the progress of pioneering collection, are an essential record of the spirit of the times in the work done in the 1930s by a generation of artists, such as Gregoire development of a nation.
    [Show full text]
  • 2019Iftr-Abstract-Book-Updated0624
    2019 IFTR CONFERENCE SCHEDULE DAY 1 MONDAY JULY 8 WG 1 DAY 1 MONDAY July 8 9:00-10:30 WG1 SAMUEL BECKETT WORKING GROUP ROOM 204 Chair: Trish McTighe, University of Birmingham 9:00-10:00 General discussion 10:00-11:00 Yoshiko Takebe, Shujitsu University Translating Beckett in Japanese Urbanism and Landscape This paper aims to analyze how Beckett’s drama especially Happy Days is translated within the context of Japanese urbanism and landscape. According to Routledge Encyclopedia of Translation Studies, “shifts are seen as required, indispensable changes at specific semiotic levels, with regard to specific aspects of the source text” (Baker 270) and “changes at a certain semiotic level with respect to a certain aspect of the source text benefit the invariance at other levels and with respect to other aspects” (ibid.). This paper challenges to disclose the concept of urbanism and ruralism that lies in Beckett‘s original text through the lens of site-specific art demonstrated in contemporary Japan. Translating Samuel Beckett’s drama in a different environment and landscape hinges on the effectiveness of the relationship between the movable and the unmovable. The shift from Act I into Act II in Beckett’s Happy Days gives shape to the heroine’s urbanism and ruralism. In other words, Winnie, who is accustomed to being surrounded by urban materialism in Act I, is embedded up to her neck and overpowered by the rural area in Act II. This symbolical shift experienced by Winnie in the play is aesthetically translated both at an urban theatre and at a cave-like theatre in Japan.
    [Show full text]
  • Redressing Theo Schoon's Absence from New Zealand Art History
    DOUBLE VISION: REDRESSING THEO SCHOON'S ABSENCE FROM NEW ZEALAND ART HISTORY A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Art History in the University of Canterbury by ANDREW PAUL WOOD University of Canterbury 2003 CONTENTS Abstract .......................................... ii Acknowledgments ................................. iii Chapter 1: The Enigma of Theo Schoon .......................... 1 Chapter2: Schoon's Early Life in South-East Asia 1915-1927 ....... .17 Chapter 3: Schoon in Europe 1927-1935 ......................... 25 Chapter4: Return to the Dutch East-Indies: The Bandung Period 1936-1939 ...................... .46 Chapter 5: The First Decade in New Zealand 1939-1949 ............ 63 Chapter 6: The 1950s-1960s and the Legacy ......................91 Chapter 7: Conclusion ...................................... 111 List of Illustrations ................................ 116 Appendix 1 Selective List of Articles Published on Maori Rock Art 1947- 1949 ...................................... 141 Appendix 2 The Life of Theo Schoon: A Chronology ................................... .142 Bibliography ..................................... 146 ABSTRACT The thesis will examine the apparent absence of the artist Theo Schoon (Java 1915- Sydney 1985) from the accepted canon ofNew Zealand art history, despite his relationship with some of its most notable artists, including Colin McCahon, Rita Angus and Gordon Walters. The thesis will also readdress Schoon's importance to the development of modernist art in New Zealand and Australia, through a detailed examination of his life, his development as an artist (with particular attention to his life in the Dutch East-Indies, and his training in Rotterdam, Netherlands), and his influence over New Zealand's artistic community. ii ACKNOWLEDGEMENTS Acknowledgment and thanks are due the following: My thesis supervisor Jonathan Mane-Wheoke, without whose breadth of knowledge and practical wisdom, this thesis would not have been possible.
    [Show full text]
  • 2017 Editor Richard De Grijs Deputy Editor Ines Eben V
    JOURNAL OF THE ROYAL ASIATIC SOCIETY China Vol. 77 No. 1, 2017 Editor Richard de Grijs Deputy Editor Ines Eben v. Racknitz Copyright 2017 RAS China The Journal of the Royal Asiatic Society China is published by Earnshaw Books on behalf of the Royal Asiatic Society China. Contributions The editor of the Journal invites submission of original unpublished scholarly articles and book reviews on the religion and philosophy, art and architecture, archaeology, anthropology and environment, of China. Books sent for review will be donated to the Royal Asiatic Society China Library. Contributors receive a copy of the Journal. Subscriptions Members receive a copy of the journal, with their paid annual membership fee. Individual copies will be sold to non-members, as available. Library Policy Copies and back issues of the Journal are available in the library. The library is available to members. www.royalasiaticsociety.org.cn Journal of the Royal Asiatic Society China Vol. 77 No. 1, 2017 978-988-8422-64-7 EB 097 © 2017 Royal Asiatic Society China The copyright of each article rests with the author. Designed and produced for RAS China by Earnshaw Books Ltd 17/F, Siu Ying Commercial Building, 151-155 Queen’s Road Central, Hong Kong All rights reserved. No part of this book may be reproduced in material form, by any means, whether graphic, electronic, mechanical or other, including photocopying or information storage, in whole or in part. May not be used to prepare other publications without written permission from the publisher. The Royal Asiatic Society China thanks Earnshaw Books for its valuable contribution and support.
    [Show full text]
  • Download Incredible Tretchikoff: Life of an Artist and Adventurer Free
    INCREDIBLE TRETCHIKOFF: LIFE OF AN ARTIST AND ADVENTURER DOWNLOAD FREE BOOK Boris Gorelik | 304 pages | 30 Sep 2013 | Art / Books | 9781908970084 | English | London, United Kingdom ISBN 13: 9781908970084 There are no discussion topics on this book yet. Published by Collins Refresh and try again. Error rating book. Daily Maverick. The occasional appearance of a pigeon during his life was taken as a good omen by Tretchikoff, and gave rise to the title of his memoir. More filters Seller Rating:. Dec 07, Dimitri Tretchikoff rated it it was amazing Recommends it for: students of art and general public who know Tretchikoff. Zeff Ryder rated it it was amazing Mar 23, Just a moment while we sign you in to your Goodreads account. To ask other readers questions about Incredible Tretchikoffplease sign up. New copy - Incredible Tretchikoff: Life of an Artist and Adventurer dispatched within 4 working days. Cock-Fighter - colour print, not a book. Julia marked it as to-read Dec 27, Incredible Tretchikoff Boris Gorelik. Accused by his captors of being a spy, he somehow survived, and was eventually reunited with his wife and daughter in Cape Town after the war. In the past half decade, there has been a resurgence of interest in his work. This page was last updated: Oct Purplestorm83 added it Aug 02, Huffington Post. More information about this seller Contact this seller 9. Light marks. A near fine copy short split head spine in a near fine sl. This issue includes cover by Roger Stowell, fashion by Guy Bourdin, profile of Vladimir Tretchikoff, plus many stunning period advertisements.
    [Show full text]
  • The Russian Connection in Singapore's Local Art Identity
    The Russian Connection in Singapore’s Local Art Identity David Low Kok Kiat Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 4, Number 2, October 2020, pp. 91-159 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2020.0008 For additional information about this article https://muse.jhu.edu/article/770698 [ Access provided at 25 Sep 2021 19:42 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. The Russian Connection in Singapore’s Local Art Identity DAVID LOW KOK KIAT1 Abstract The uncritical acceptance of the Nanyang art discourse as central to the discussion of Singapore’s local art identity obfuscates its historical emergence from a richly pluralistic artistic milieu which existed from the 1920s to the 1940s. This article illustrates the diversity of artistic practice in Singapore during this period, through a case study of three Russian artists in Singapore: Anatole Shister, Vasily Zasipkin and Vladimir Tretchikoff. Examining their migration stories, as well as studying their art and their involvement in the local art world, the article reveals how global upheavals of this period informed Singapore’s artistic milieu, contributing to a cosmopolitan environment that allowed for interaction between artists from around the world. In Singapore, artists from different backgrounds and with diver- gent motives shared in the efforts of depicting local life, searching for local colour and painting the region. Introduction In Singapore, notable appraisals of works by Russian artists were given at the Fight for Freedom exhibition of 1941, held at the Victoria Memorial Hall; an exhibition wherein both European and Chinese artists who arrived in Singapore between the 1920s and 1940s were seen displaying works that Southeast of Now Vol.
    [Show full text]