Thursday, 12 September 2019

ART EAST AFRICA

Lot 16 Edward Saidi Tingatinga (Tanzanian, 1932–72) Untitled (Elephant Eating from the Marula Tree), 1971, at Art Auction East Africa 2019
Edward Saidi Tingatinga, Untitled (Elephant Eating from the Marula Tree), 1971. Sold Ksh 5,635,200
7.30PM on TUESDAY 5 MARCH 2019 at The RADISSON BLU HOTEL, NAIROBI
This year, we were invited to hold the Modern and Contemporary Art Auction East Africa 2019 in the lovely ballroom at the Radisson Blu Hotel in Upper Hill, Nairobi.

With 59 Lots from seven countries, we auctioned some rare and exceptional sculptures this year; Lot 31 & 32 by the late master sculptor Samuel Wanjau; and stunning, well priced paintings dating from the 1960s to present. With an emphasis on modern and the secondary market, we were able to find some very unusual works, such as Lot 29, the Piano Player by Fabian Mpagi, and Lot 25 by the late Robin Anderson.

We welcomed KCB, Kenya’s largest bank, as our new partner, and new drinks sponsors, Glenfiddich whisky and Hendricks gin.
Auctioneer, Chilson Wamoja, who has assisted us at all our auctions took the sale this year.
Record sales of USD 300,000 for 2019
The Sixth Art Auction East Africa 2019 was the record auction sale since the auction began in 2013.  Total sales exceeded KSH 30 million (USD 300,000).  90% of the 59 Lots sold on the night, another auction record.
Enquiries
Danda Jaroljmek +254 722 672938 info@artauctioneastafrica.com
Auction Catalogue
Art Auction East Africa 2019 Catalogue Cover
 
 
Source: ART AUCTION EAST AFRICA | https://artauctioneastafrica.com

Wednesday, 11 September 2019

Jean Pigozzi on Africa


I really like this interview with Jean Pigozzi. His Collection is really authentic and his earlier works pre-Internet are fantastic, it so rare to find African homegrown Art today. The support really goes to those trained in the West so this is so refreshing..


Take a look at the Jean Pigozzi Collection | http://www.caacart.com/

Thursday, 15 August 2019

Kuba Dance Skirts | Democratic Republic of Congo


African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000


Central Africa, Democratic Republic of the Congo, Kuba, ca. mid 20th century CE. Framed Kuba cloth comprised of three panels sewn together - each one presenting bold geometric patterns - a plethora of diamond and chevron motifs - in warm earth tones: chocolate brown, tawny red, and warm tan on a creamy beige ground. Traditionally, kuba cloth is woven from raffia-tree leaves; this example is comprised of naturally colored fabric created via a laborious process of hand-dyeing using mud, indigo, or the powdered bark of the camwood tree. Such cloths are usually created by Kuba men on a single heddle loom. Next they are embroidered by women and children to create an uncut or cut-pile appearance (the latter resembling a velvet or velour texture). Kuba cloths are worn during ceremonial events, especially funerals; however, they are also found in tapestries and home furnishings. The abstract geometric patterns are symbolic of an individual's social and marital status, age, and/or personal attributes or character. Size: 20" W x 19.75" H (50.8 cm x 50.2 cm); 25.25" W x 25.875" H (64.1 cm x 65.7 cm) framed

and here is another:

African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000
 
 
 
 
 

Artemis Gallery

686 S Taylor Ave, Ste 106
Louisville, CO 80027
United States
 

Kube Dance Skirt | Democratic Republic of Congo


African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000



 
Africa, Democratic Republic of Congo, ca. 1950. A traditional Kuba dance skirt (Tcaka) - handmade from raffia and hand-stitched with immense artistry, presenting bold geometric patterns in warm earth tones - rich browns and toasty almond beiges - as well as pops of more vibrant color - magenta, blue, green, and pink. Such cloths are usually created by Kuba men on a single heddle loom. Next they are embroidered by women and children to create an uncut or cut-pile appearance. Highly decorative and created with painstaking technique, this skirt presents panels of checkerboard patterns and an applied overlapping zigzag/diamond motif comprised of pink, black, and houndstooth fabrics. The trim is made of alternating passages of cut raffia pom poms and cowrie shells. A particularly exceptional example given that it is made of raffia, demonstrates immense artistry with intricate patterns, skillfully executed weaving, beautiful hues, and also boasts a generous size and excellent condition. Size: 260" L x 33" H (660.4 cm x 83.8 cm)

Kuba cloths are worn during ceremonial events, especially funerals; however, they are also found in tapestries and home furnishings. The abstract geometric patterns are symbolic of an individual's social and marital status, age, and/or personal attributes or character.

There are several theories concerning the inspiration for Kuba style. One theory suggests that the designs in Kuba textiles are rooted in tribal scarification patterns. Another suggests that the motifs of Kuba textiles were modeled upon those found in crop patterns. Still another suggests that the source for their visual patterns was divine intervention. The creation of these ceremonial wraps is a collaborative effort. Men are involved in all stages of preparing the fiber and executing the weaving, whereas women soften the textiles and apply the decoration. These coveted ceremonial textiles are worn during ritual dances and special occasions such as festivals, weddings, funerals, and initiation rites.


Artemis Gallery

686 S Taylor Ave, Ste 106
Louisville, CO 80027
United States
 



Saturday, 22 June 2019

Frank Bowling | Tiger Falls, 1980

Frank Bowling RA, OBE
Tiger Falls
signed, titled and dated '“TIGER FALLS” Frank Bowling 1980' on the reverse
acrylic on canvas
117.5 x 64.5 cm (46 1/4 x 25 3/8 in.)
Painted in 1980.
20th Century Work of Art
 
Estimate
£40,000 - 60,000

Phillips Sale on 28th June 2019



“TIGER FALLS” Frank Bowling 1980
“TIGER FALLS” Frank Bowling 1980


“TIGER FALLS” Frank Bowling 1980
“TIGER FALLS” Frank Bowling 1980'








































Provenance

Spanierman Modern Gallery, New York
Private Collection, California

Catalogue Essay

‘In my youth I tended to look at the tragic side of human behaviour and try and reflect that in my work, but gradually as I became more involved in the making of paintings, I realised that one of the main ingredients in making paintings was colour and geometry.’ - Frank Bowling

Undoubtedly one of Britain’s finest formalist painters, Frank Bowling’s painterly practice is currently being celebrated at the artist’s retrospective at the Tate Britain this summer. Since the 1960s, Bowling has been testing and stretching the possibilities of painting, continuing to experiment with form and materials. Born in Guyana, Bowling moved to Britain as a teenager and studied at the Royal College of Art in the early 1960s alongside David Hockney and R.B. Kitaj. Although Bowling achieved early recognition in London, he decided to move to New York in 1966 where his paintings became less constrained by the representational. Pursuing formalism on his own terms, Bowling built a tilting platform in his New York and London studios that enabled him to pour paint from heights of up to two metres, creating daring work that was the product of controlled accidents.

The present work, Tiger Falls, was executed in 1980, by which time Bowling had been refining his abstract painting for a decade. Bowling’s deep understanding of the motion and colour of paint is evident in this dynamic composition of violet and ochre. Warm and cool hues are blended together, calmly spilling from the top-left corner over the finely-dappled layers underneath. Unlike the hard and rigid lines of American abstraction, visible in the work of Morris Louis or Kenneth Noland, Tiger Falls is an exploration into both the formal materiality as well as atmospheric suggestiveness of paint. In unison with the title, Bowling’s application of the medium is an organic mixture of impasto and thinner painterly washes, both invoking the natural world. Retaining a captivating ambiguity, Tiger Falls transports us into the depths of nature, inviting the viewer’s eye to follow the cascades of paint in motion.



Contact Specialist

Phillips
Tamila Kerimova
Specialist, Head of Day Sale
+ 44 20 7318 4065
tkerimova@phillips.com

Saturday, 1 June 2019

Season by Wole Soyinka


Image by Joe Pollitt from his series, 'African Graffiti | The Walls Have Ears" 2004



Poets from Biafra and Nigeria

Wole Soyinka

Season

Rust is ripeness, rust
And the wilted corn-plume;
Pollen is mating-time when swallows
Weave a dance
Of feathered arrows
Thread corn-stalks in winged
Streaks of light. And, we loved to hear
Rasps in the field, where corn leaves
Pierce like bamboo slivers.

Now, garnerers we,
Awaiting rust on tassels, draw
Long shadows from the dust, wreathe
Dry thatch in woodsmoke. Laden stalks
Ride the germ’s decay – we wait
The promise of the rust.

Sunday, 5 May 2019

The Changing Face of Civilization by Joe Pollitt


The Changing Face of Civilization


Today, thankfully we are coming to the end of an abysmal cycle of Civilization. The Greeks had their time, so too the Romans and later the British, French, Portuguese and the Americans. The rise and fall of Empire is solely dependent on whether or not those that are Governed by the so-called, ‘civilized’ are prepared to tolerate the notion of unjust, outdated feudal systems, whereby power, (both economic and intellectual) is distributed to the few. These cycles of Civilization are constant, ever changing and optimistic; sadly, the civilization of now has its roots based strictly on race. Its success has been largely dictated by the blatant exploitation of the Continent of Africa. This comes in many guises, the resources found in the ground and the forced migration of the vast unpaid workforce in the form of slavery. This perverse human ownership, similar to that of cattle-thieves and homogeneously as noble, was a foreign affair whereas Colonization, less obviously shocking but nonetheless equally damaging, was more a domestic affair; both evenly derogatory for those held captive.

In the early days of European trading with Africa; mainly in the West and Central regions, the partnerships where amicable, trustworthy and even respectful | In Chinua Achebe’s essay, ‘Africa’s Tarnished Name’, he notes that the Portuguese captain, Diogo Cao first visited the Congo in 1482 and by his third visit in 1487 he was introduce to the King Mweni-Congo.  

“Seated on an ivory throne surrounded by his courtiers. Cao’s monks were returned to him, and all was well. An extraordinary period ensued in which the king of Congo became a Christian with the title Dom Afonso I. Before very long, the royal brothers of Portugal and Congo were writing letters to each other that were couched in terms of complete equality of status. Emissaries went back and forth between them. Relations were established between Mbanza and the Vatican. A son of the Mweni-Congo was appointed in Rome itself as bishop of his country. This bishop, Dom Henrique, had studied in Lisbon, and when he led a delegation of Congo noblemen to Rome for his consecration, he addressed the Pope in Latin.”

These harmonious relations fizzled out, as the aggressive Europeans started fighting over territory, carving up the Continent for themselves. Soon enough the white man’s greed dominated, as they became increasingly aware of the abundance of wealth to be gained from the coast to the interior of Sub-Saharan Africa.

The Modern European Civilization goes back to 15th Century but it wasn’t until the 18th and 19th Century that the clandestine style of literature, speeches, paintings, cartoons, eugenics, botany, evolution, natural philosophy and expeditions, funded by the Church started to evolve.  Thus, begins a campaign by the wealthy elite, on a lasting racism that has become forever ingrained in the feeble minds of the Enlightened Europeans of that time, right up until the present day. This systematic formation of the very definition of our Modern Civilization has been founded on the notion of racial division. Ideas that have been cunningly established in the public libraries, constructed by academic slave-owners, all of which requires the reader to be complicit and obediently silence in order to become an acceptable “civilized” individual. The recurring theme over time has been based on superiority of race and the value of location; Geo-political racism, where those that have been omitted from the pages of history are considered redundant when it comes to the collective global village. At the time of these writings and centuries before, the tribal make-up of West Africa were highly sophisticated and complex systems of governance and power sharing. These practical and intelligent forms of African democracy prior to the Colonial invasions have been absent from the shaping of our Modern Civilization. Conveniently ignored over years of formal published abuse, which was superciliously crafted in the ironically named, ‘Age of Enlightenment’. 

If you want more pay for it...I AM NO SLAVE! I am not your private Nigger; your House Nigger..I am a FREE MAN, so PAY ME!!