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SELECTION FOR A LADY - FRIEZE 2021

*EGYPTIAN David Aaron GBP 245,000 

BASQUIAT Van de Weghe USD 1,850,000 - SOLD 

CHAGALL Nahmad Contemporary USD 1,600,000 

DAUMIER Stephen Ongpin Fine Art GBP 150,000 

MIRO Acquavella Galleries USD 1,500,000 

MOORE Gagosian USD 100,000 

PICASSO Emanuel Von Baeyer GBP 210,000 

*SOUTHERN ARABIAN ArtAncien GBP 600,000 

 

Modern Masters & *Antiquities for a Lady 

Frieze London 2021 

  • 4,000 years separate these two exceptional works, yet their creators thrive to meet eternity with a similar verve; the Egyptian figure celebrates the elusive concept of 'KA' -a notion very appropriate to characterize the timeless art of Basquiat.{quote}The term 'KA' is usually translated as “spirit” or “double,” yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.{quote}
  • JEAN-MICHEL BASQUIAT (1960-1988)Oilstick on paper76 × 56 cmUSD 1,850,000 
  • JEAN-MICHEL BASQUIAT (1960-1988)Oilstick on paper76 × 56 cmUSD 1,850,000 
  • MIDDLE KINGDOM EGYPT (2050-1710 B.C.)Acacia wood, bronze, boneH: 35.8cm This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body. Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.GBP 245,000
  • JEAN-MICHEL BASQUIAT (1960-1988)Oilstick on paper76 × 56 cmUSD 1,850,000 
  • MIDDLE KINGDOM EGYPT (2050-1710 B.C.)Acacia wood, bronze, boneH: 35.8cm This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body. Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.GBP 245,000
  • JEAN-MICHEL BASQUIAT (1960-1988)Oilstick on paper76 × 56 cmUSD 1,850,000 
  • MIDDLE KINGDOM EGYPT (2050-1710 B.C.)Acacia wood, bronze, boneH: 35.8cm This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body. Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.GBP 245,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • MARC CHAGALL (1887-1985)Oil on canvas, on stretcher bar65 x 54 cmWith the estate signature stamp «Marc/Chagall» at lower leftCertificate from Comité Marc Chagall, Paris$1,600,000
  • HONORÉ DAUMIER (1887-1879)Watercolour and gouache, over an underdrawing in black chalk. Inscribed H Daumier / Hier(?) biseau anglais - / [?] in pencil on verso. 17,1 x 13,1 cmWatermark[W]HATM[AN] / [TU]RKEY MI[LL] / 1859GBP 150,000
  • JOAN MIRÓ (1893-1983)61 x 47 cmLead pencil, pencil, watercolor and silver paper collage on paperUSD 1,500,000 
  • JOAN MIRÓ (1893-1983)61 x 47 cmLead pencil, pencil, watercolor and silver paper collage on paperUSD 1,500,000 
  • JOAN MIRÓ (1893-1983)61 x 47 cmLead pencil, pencil, watercolor and silver paper collage on paperUSD 1,500,000 
  • JOAN MIRÓ (1893-1983)61 x 47 cmLead pencil, pencil, watercolor and silver paper collage on paperUSD 1,500,000 
  • JOAN MIRÓ (1893-1983)61 x 47 cmLead pencil, pencil, watercolor and silver paper collage on paperUSD 1,500,000 
  • HENRY MOORE  (1898-1986)Bronze, greenish black patina25,7 × 11,7 × 13,3 cmUSD 100,000 
  • HENRY MOORE  (1898-1986)Bronze, greenish black patina25,7 × 11,7 × 13,3 cmUSD 100,000 
  • HENRY MOORE  (1898-1986)Bronze, greenish black patina25,7 × 11,7 × 13,3 cmUSD 100,000 
  • HENRY MOORE  (1898-1986)Bronze, greenish black patina25,7 × 11,7 × 13,3 cmUSD 100,000 
  • HENRY MOORE  (1898-1986)Bronze, greenish black patina25,7 × 11,7 × 13,3 cmUSD 100,000 
  • PABLO PICASSO (1881-1973)                                                                                                   Ink wash on paper24 x 32 cmSigned and dated in ink: 23.1.54. II. Literature: Zervos Volume 16, 206.Provenance:   Galerie Louise Leiris, Paris (stock 06261)Herman C. Goldsmith, New YorkGBP 210,000 
  • PABLO PICASSO (1881-1973)                                                                                                   Ink wash on paper24 x 32 cmSigned and dated in ink: 23.1.54. II.Literature: Zervos Volume 16, 206.Provenance:   Galerie Louise Leiris, Paris (stock 06261)Herman C. Goldsmith, New YorkGBP 210,000 
  • SOUTHERN ARABIA (100 B.C. – 100 A.D.)Calcite-AlabasterH: 28.30 cm (11.14 inches)A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.GBP 600,000
  • PABLO PICASSO (1881-1973)                                                                                                   Ink wash on paper24 x 32 cmSigned and dated in ink: 23.1.54. II.Literature: Zervos Volume 16, 206.Provenance:   Galerie Louise Leiris, Paris (stock 06261)Herman C. Goldsmith, New YorkGBP 210,000 
  • SOUTHERN ARABIA (100 B.C. – 100 A.D.)Calcite-AlabasterH: 28.30 cm (11.14 inches)A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.GBP 600,000
  • PABLO PICASSO (1881-1973)                                                                                                   Ink wash on paper24 x 32 cmSigned and dated in ink: 23.1.54. II.Literature: Zervos Volume 16, 206.Provenance:   Galerie Louise Leiris, Paris (stock 06261)Herman C. Goldsmith, New YorkGBP 210,000 
  • SOUTHERN ARABIA (100 B.C. – 100 A.D.)Calcite-AlabasterH: 28.30 cm (11.14 inches)A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.GBP 600,000
  • Considering Picasso's insatiable appreciation for exceptional works from all periods, the present Southern Arabian Head of a Woman from circa 100 B.C. – 100 A.D. would surely have captured his imagination. More pointedly though, the Gosol period of 1906 is widely credited to be the watershed moment that led to Picasso’s creation of the first cubist masterpiece the following year: “Les Demoiselles d’Avignon.” Interestingly, there seem to be “affinities” between Picasso’s work of this period and medieval Romanesque art, mostly from churches in the Pyrenees built during the 11th to 13th centuries. One glance at the Gosol Madonna, for instance, reveals that it was a source for Picasso’s painting Woman with Loaves (1906). So perhaps loosely tying the Southern Arabian Head of a Woman to Picasso’s work, one could invoke the fact that the above mentioned medieval Romanesque churches up in the Pyrenees were erected during the golden age of Muslim Spain...In an article discussing the relationship of Picasso with Islamic art, the author notes:“Juxtaposing examples of premodern Islamic art with Picasso’s paintings de Lorey noted the abstract qualities of both, and suggested that “only a Spaniard descended from Moors” could have Picasso’s visual sensibilities, and (quoting Apollinaire) that there must be in his ancestry some distant Muslim given over “to the demon of abstraction.” Hence, the arabesque qualities of Picasso’s work were probably a “hereditary gift” of this purported Islamic heritage.” Picasso the Muslim: Or, How the Bilderverbot became modernFinbarr Barry FloodFull article here
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