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Welcome to the inaugural edition of The Auction Room’s The

the highly acclaimed Nigerian artist Nnenna Okore, Lace and

African Art Auction: Contemporary and Modern Art from Africa

Conjoined, a major and widely exhibited wooden work from El

and its Diaspora. I am proud to present what is an eclectic

Anatsui, Coins on grandma’s Cloth and the utterly compelling

range of important works from artists from Africa, its diaspora,

Les Cyclistes by the extraordinary Senegalese artist Mamady

as well as a few artists who are closely associated with the

Seydi. These are just a few of the many highlights in this

continent. The works in this auction have been carefully

auction of over sixty works.

selected to appeal to a diverse range of collectors: whether a first time buyer looking to acquire a work at accessible price ranges, collectors in African art for whom many of the artists represented will be familiar, museums with existing or planned African contemporary collections for whom we have included larger installation pieces as well as emerging artists,

We believe that the online software that we have created at The Auction Room will provide the perfect platform for selling African Art with its ability to reach a truly international audience. We hope that this auction is the first step towards a happy marriage between two exciting new markets.

or those new to this exciting and dynamic segment of the art market. Above all, I hope this auction will convey something of the strength, diversity and excitement to be found in African

Ed Cross

modern and contemporary art. African Art Specialist We are honoured to have some really outstanding lots in this auction. Malian artist Abdoulaye Konate’s monumental and

The Auction Room

prophetic tapestry, Power and Religion, is in my opinion one of the most important works to have been produced on the African continent over the last ten years. In Three Wanderers in the City we have one of the first paintings that the great Nigerian master Twins Seven Seven exhibited and sold at the age of 23. Pascale Marthine Tayou’s outstanding work Home Sweet Home is a testament to the realities of modern life where home is less to do with geography and more to do with human relationships that span the globe. Skunder Boghossian’s painting is a moving Homage to Abebe Bikila - the great Ethiopian marathon runner. We have two powerful works by


LOT 1 ABLADE GLOVER (b. Ghana, 1934)

ORANGE AND BLUE CONTRAST Oil on canvas Signed (on face of work), dated 1998 123 X 87cm (48.4 x 34.3in) Estimate: £3,400 - £5,500

“Ablade Glover is one of Ghana’s foremost painters, his

oil paint are Western techniques, while the manner in which

abstract forays full of vibrant colour, light and activity. Glover’s

he builds up the surface of his canvases a clear reference to

paintings encompass a wide range of subjects but the passion

designs, patterns and textures of the traditional Ashanti cloth,

remains the same; the exuberance of Africa itself, the warmth


of the sun, the bustling market stalls, the brightly-attired crowds, people at prayer and the energy of Ghanaian life.

Ablade believes that the artist is a guardian of traditional values in contemporary society because he embodies the

Ablade Glover sees art as a tool to explore the reality of his

culture, traditions and beliefs of the social-economic reality of

time, to investigate the relationship between the traditions

the time. The artist is the vessel from which we drink from.”

of Ghana and the omnipotence of Western culture. His work reflects these polar opposites; his use of the palette knife and


Source Moray Mair, Mutantart

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FRÉDÉ RIC BRULY BOUABRÉ (b. Cote D’Ivoire, 1921)

CONNAISSANCE DU MONDE Series of ten drawings Pen and ink and wax pastel on paper Each signed and dated (verso) Each drawing 20 x 14cm (7.9 x 5.5in) Estimate: £4,500 - £ 7,500

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TWINS SEVEN-SEVEN (b. Nigeria, 1944 – 2011)

THE THREE WANDERERS IN THE CITY Oil and acrylic on canvas Signed ‘Twins 77 - Oshogbo 1967’ (on face of work) 88 x 88cm (34.6 x 34.6in) Estimate: £4,000 - £6,000

The Three Wanderers in the City is one of Twins Seven-Seven’s first major works - exhibited and sold in Ibadan at his first exhibition in 1967 when the artist was only 23 years of age. Unlike many of the artist’s other works dominated by brown earthy colours, this painting is unusual for its strong, expressive primary colours fusing subject matter from ancient Yoruba mythology with an electric, urban energy.


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LOT 4 EL ANATSUI (b. Ghana, 1944)

CHIEF Etching on paper Signed ‘El Anatsui 87’ (lower right) 48 x 33 cm (18.9 x 13in) Edition 4 of 20 Estimate: £2,000 - £3,000

LOT 5 VIRGINIA RYAN (b. Australia, 1956)

LES FEMMES DE GAGNE A LA RUE DU COMMERCE 1 Acrylic on canvas Signed and dated, ‘Virginia Ryan 2012’ (lower right) 144 x 185cm (56.7 x 72.8in) Estimate: £3,000 - £4,000

LOT 6 PETERSON KAMWATHI (b. Kenya, 1980)

UNTITLED (NCHI – MALI) Woodcut plate, Printing inks on composite board 40 x 46cm (15.7 x 18.1in) Estimate: £1,400 - £2,400

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(b. Sierra Leone, 1944)

(b. Nigeria, 1957)



Oil on wood; porcupine quills

Carved Ebony wood


2011. Signed

157 x 160 x 110 cm (61.8 x 63 x 43.3in)

183 x 30 x 30cm (72in x 11.8 x 11.8in)

Estimate: £6,500 - £8,500

Estimate: £7,500 - £10,000


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LOT 9 ABIODUN OLAKU (b. Nigeria, 1958)

LIFE GOES ON (LAGOS) Oil on canvas 2012. Signed (on face of work) 96.5 x 112cm (38 x 44.1in) Estimate: £12,000 - £14,000

In Life Goes On (Lagos) Olaku creates an imaginary street from elements drawn from his perpetual study of his own city. Life goes on here in the early hours of the morning where traffic is reduced to a small but steady flow. The artist evokes an anonymous narrative of unrecorded lives, paying homage to the energy of Lagos, one of the great African metropolises, and the work ethic and resilience of its people. We see the artist’s continuing fascination with atmosphere, reflection and refracted light and the process of making the transient permanent.

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LOT 10

AMON KOTEI* (b. Ghana, 1915 – 2011)

UNTITLED 2004. Signed and dated, 2004 (lower right) Oil on canvas 95 x 70cm (37.4 x 27.6in) Estimate: £8,000 - £12,000

This fine later work from 2004 is part of an extensive body

seen Fauvist influences in his paintings because of his use

of work by Kotei devoted to the celebration of women.

of intense primary colours alongside more subdued tones,

Much of his work was inspired by the full figures of market

the artist preferred to see this as a direct response to his

women from Accra’s Makola market. Kotei is one of a small

perception of the world.

band of modernist Ghanaian artists which include Albert Osabu Bartimeus, who are recognised as fathers of Ghanaian

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contemporary art. The solid, almost monumental (mostly female) characters that are the subjects of his paintings, exude a sense of pensiveness as well as strength. Colour as a concept and a reality was fundamental to Kotei’s practice - something to be cherished and celebrated through painting. So whilst some critics have


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LOT 12

LOT 11



(b. Democratic Republic of the Congo, 1981)

(b. Democratic Republic of the Congo, 1955)



Mixed media with collage on paper

Acrylic on canvas

Signed and dated Bandoma, 2012 (lower right)

Signed and dated ‘Cheri Cherin 2011’ (lower right)

100 x 70cm (39.4 x 27.6in)

208 x 136cm (81.9 x 53.5in)

Estimate: £2,200 - £3,400

Estimate: £3,400 - £4,500

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LOT 13


El Anatsui is one of Africa’s greatest contemporary artists and

(b. Ghana, 1944)

was the first African-based artist to achieve global “superstar”


status. He was born in Ghana in 1944 but has lived and worked for much of his life in Nigeria, where he is Head of Sculpture

Mixed media on African hardwood

in the Fine and Applied Arts Department at the University of

Signed and dated 1992

Nigeria, Nsukka.

64 x 140cm (25.2 x 55.1in) Estimate: £26,000 - £36,000

Although his practice has evolved over a forty-year career, El Anatsui has always been fascinated by the ways in which materials can be remodelled and transformation enacted. This has lead him to work with a broad range of materials, from wood to found objects like discarded bottle tops and foils, employing a wide range of processes such as sewing, welding and sawing to shape and transform the media he uses. Through this process of reinvention Anatsui

reveals the complex

history of cultural exchange both within Africa and between Africa and the rest of the world. His work is situated in his own continent in terms of inspiration and materials but with a


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universal meaning that has ignited the global imagination.

itself a reference to the weaving techniques of the Ewe and the

In his celebrated cloth works, which are inspired by Ghana’s

Asante people. The use of carved planks was also inspired by

Kente cloth, the discarded tops of liquor bottles have specific

the wood carvers from the Akwa area of Southeastern Nigeria

historical references, alcohol being one of the principal goods

who used a chip-carving technique to create geometric forms

traded for slaves in West Africa.

and motifs from the “Uli” aesthetic.

El Anatsui’s wooden sculptures pre-date his “cloth” works and

Since its dramatic arrival on the international art scene at the

are a crucial and often undervalued part of his oeuvre. Coins

2007 Venice Biennale, El Anatsui’s work has had unparalleled

on Grandma’s Cloth was created in 1992 and is a particularly

international exposure at many of the world’s greatest

fine example from a series of wall hung works using

Museums, including the Metropolitan Museum of Art, The

interchangeable planks of hardwood that began in 1982 with

British Museum, The Pompidou Centre, The Smithsonian

processes involving burning, cutting and painting. Anatsui

Museum, the Museum Kunst Palast, Düsseldorf and recently

first used the chainsaw as a drawing tool in 1980 enabling him

at the Royal Academy in London.

to cut through blocks of wood, leaving a jagged surface that he likened to the scars left by European colonial encounters with

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Africa. He produced a number of sister works referencing his grandmother’s cloth including Remnant of Grandma’s cloth in 1991 and the hanging strips of timber used in these works is in

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LOT 14

LOT 15



(b. South Africa 1959)

(b. 1960, South Africa)



Vintage silver fibre photographic print

1998. Signed and dated ‘Zwelethu ‘98’ (lower right)

1986. Signed and dated 1986 (verso)

67 x 98cm (26.4 x 38.6in)

30cm x 41cm (11.8 x 16.1in)

Estimate: £4,000 - £6,000

Pastel on paper

Estimate: £2,000 - £3,000 In the week leading up to making this image, Gideon Mendel

Mthethwa is predominantly known for his bold, large-

was witnessing increasing levels of violence in KTC and

format, colour photographs of marginalized communities in

Crossroads Squatter Camps.

South Africa. But, as well as being one of the world’s leading

He took this photograph very early in the morning, having sneaked passed police roadblocks to an area of complete

photographers, Mthethwa is also a painter. Going to School is one of a rare series of pastel works from the 1990’s.

devastation; a wasteland of destroyed shacks and possessions,

“His style of portraiture (regardless of the medium), situates

torched the previous day.

his subjects intimately in the context of their work or homes,

There he found a woman trying to recover what she could from the ruins of her shack, he captured the image of her leaving the site carrying sheets of corrugated iron with her. Shortly after these events the government declared an Emergency making all photography of political violence and conflict illegal.

environments that often appear impoverished or neglected. But rather than portraying an exotic or lesser “other,” as has so often been the case with portraits of Africans, the artist collaborates with his subjects and creates images that emphasize their humanity and agency. ” Source: The Progress of Love, Exhibition catalogue


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LOT 16 PETER CLARKE (b. South Africa, 1929)

BLUE MONDAY Woodcut Signed ‘Clarke’ (lower right) 27 x 34cm (10.6 x 13.4in)Edition 3 of 36 Estimate: £2,000 - £3,000

LOT 17 LARRY OTOO* (b. Ghana, 1956)

MARKET WAVES Acrylic on canvas 2009. Signed “L Otoo” (lower right), 2009 70 x 86cm (27.6 x 33.9in) Estimate: £2,400 - £3,400 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.


MENDING NETS Oil on canvas 60 x 76cm (23.6 x 29.9in) Estimate: £3,400 - £4,500 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.

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LOT 19

GONÇALO MABUNDA (b. Mozambique, 1975)

THE ELEGANCE THRONE Wood and recycled weapons 2009 122cm x 92cm x 76cm (48 x 36.2 x 29.9in) Estimate: £10,000 - £12,000

Mabunda’s work with munitions has its origins in his

creative energy, freedom of movement and lightness of touch

participation in the Transformation des armes en objets d’art

that make it one of the artist’s most inspired works.

project in 1998. His “thrones” have attracted widespread attention and attained an iconic status. They reference the Western world’s often dubious fascination with collecting the thrones of traditional African chiefs, and the irregular and often violent manner in which some African leaders have gained and and clung to power. The Elegance Throne is one of the finest of the throne works that Mabunda has produced since he started his work with recycled munitions in 1998. The piece has a remarkable


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LOT 21

LOT 20



(b. Zimbabwe, 1985)

(b. Senegal, 1969)



Acrylic on Canvas

Acrylic on paper

2013. Signed (lower right)

2013. Signed ‘Soly 2013 DK’ (lower right)

95 x 65cm (37.4 x 25.6in)

100 x 73cm (39.4 x 28.7in)

Estimate: £1,600 - £2,600

Estimate: £1,600 - £2,600

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LOT 22

KOLADE OSHINOWO (b. Nigeria, 1948)

THE RED BEADS Mixed media on canvas 2012. Signed and Dated, 2012 (Lower Right) 24 x 91cm (24 x 35.8in) Estimate: £10,000 - £15,000

Kolade Oshinowo who was born in Ibadan in 1948, is one of

woman enhanced by her traditional costumes and accessories.

Nigeria’s most respected artists. An influential arts educator

This is in addition to her significant contribution to her family,

and mentor to younger artists, as well as a prolific painter he

community and humanity at large. The red beads are worn

has held numerous solo shows and participated in over sixty

during festivals, celebrations and other rare occasions. The

group exhibitions over a long and increasingly successful

painting is a mixed media work exploring the use of fabric


waste collected from fashion designers and tailors. Its overall blue hue is complimented by the red colour of the beads.”

Oshinowo writes: “The Red Beads is a celebration of the African woman. Often the African woman, is seen from the point of view of an enslaved, oppressed and depressed individual due to so many factors that includes some cultural and traditional beliefs. But I believe in the glorification of women. I try most times to celebrate and highlight the beauty of the African


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LOT 23

MAMADY SEYDI (b. Senegal, 1970)

LES CYCLISTES Wood, fabric, iron, paper 2012. 5 pieces Each piece c.70 x 50 x 26cm (27.6 x 19.7 x 10.2in) Estimate: £6,500 - £8,500

Working with iron and a variety of materials including

role a knowledge of history plays in making informed

sackcloth and wood, Seydi creates mythological half animal,

judgements about the present.

half human figures in installations inspired by Wolof folk tales and through his exposure to Léopold Sédar Senghor

Mamady Seydi was awarded the Intergovernmental Agency

and Abdoulaye Sadji’s collection of folk tales “Leuk le Lièvre”

of the Francophonie at Dak’ Art 2000. He has participated

written in 1953 to both teach French and reconnect Senegalese

is several residencies in France and the United States,

students with their oral folk history.

including at; Art Omi, New York (2007) and John Paul Blachère Foundation, France (2005) and has exhibited in Africa, Europe

Les Cyclistes is an outstanding work based on the Wolof saying

and the Unit

“When people race each other around a tree it is impossible to know who is in the lead unless you were there at the start”. Amongst many possible interpretations of this is the crucial

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LOT 24 WOSENE WORKE KOSROF* (b. Ethiopia, 1950)

WORDS OF PEACE Acrylic on canvas 2006. Signed and dated 2006 (on the face of the work) 64 x 64cm (25.2 x 25.2in) Estimate: £5,000 - £7,500

Kosrof is internationally recognised for the way in which he has

anyone. Whist the works reference issues facing contemporary

used Amharic script as the foundation of his work. Amharic,

Ethiopia and the world in general, the ideas are embedded in

derived from the ancient language Ge’ez, is one of the few

the work and emerge organically without premeditation.

written systems indigenous to Africa. Though Ethiopia has centuries-old traditions of two-dimensional art that include

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script, such as Coptic icon paintings accompanied by written narratives, Kosrof was the first artist to develop an art form based solely on the script. Taking the language as a starting point, Kosrof follows an intense improvisational process, with parallels to Jazz music composition, during which he explores the ways in which the letters and symbols can be transformed by distorting, dissecting, pairing and interlocking the shapes to create abstract images no longer directly linked to language and not limited to their original meanings, accessible to


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LOT 25 SKUNDER BOGHOSSIAN* (b. Ethiopia, 1937 – 2003

HOMAGE TO ABEBE BIKILA Acrylic on board 1984. Signed and dated 1984 (on face of work) 56 x 76cm (22 x 29.9in) Estimate: £10,000 - £15,000

Homage to Abebe Bikila was inspired by Bikila the legendary

contribution, and simultaneously his continent’s long, rich

Ethiopian runner who triumphed at the 1960 Rome Olympics

cultural history.

where he captivated a world audience by winning the Marathon, running barefoot. Boghossian created this work

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eleven years after the runner’s early death, and at a time when Ethiopia was in the devastating grip of the Derg junta and in an era of widespread pessimism and despair about African politics and the future of the continent. In this work, with its emotionally powerful, luminous red background and strong primary colours, Boghossian deliberately reminds viewers of Bikila’s inspirational victory, drawing specific attention to the extraordinary achievements of this courageous man and to the unique human potential of a continent. The device of the scrolls in the work underline the indelible nature of Bikila’s

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LOT 26

LOT 27



(b. Ghana,1951)

(b. Ghana, 1970)



Oil on canvas

Acrylic on Canvas

1996. Signed BON, (top right)


65 x 61cm (25.6 x 24in)

76 x 62cm (29.9 x 24.4in)

Estimate: £3,000 - £5,000

Estimate: £2,400 - £3,400

* Please note that import VAT at the rate of 5% will be added to the hammer price

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on this lot

on this lot


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LOT 28

SOKARI DOUGLAS CAMP* (b. Nigeria, 1958)

CHIEF AMACHREE Cast bronze 1994 34 x 25 x 21.5cm (13.4 x 9.8 x 8.5in) Edition 1 of 2 Estimate: £8,000 - £12,000

Sokari Douglas Camp CBE is an acclaimed Nigerian artist,

Much of her sculpture is constructed from welded steel and

born in Buguma, Nigeria in 1958. She studied at the California

her bronze casts are more unusual.

College of Arts and Crafts in Oakland, California between 1979 and 1980, before coming to London to complete her B.A.

In Chief Amachree we see an affectionate portrait of King Abbi

Degree at Central School of Art and Design and M.A. at the

Karibo Amachree IV who was King of Douglas-Camp’s Kalabari

Royal College of Art.

people from 1863 - 1900, part of a Royal lineage that still exists today and extends back to 1770. Dressed in traditional

Douglas Camp works chiefly with steel, creating figurative

clothes and regalia, complete with the hat synonymous with

works inspired by Nigeria, her country of birth, and specifically

the people of the Niger Delta, the sculpture was produced in

Kalabari culture and masquerade traditions. Her knowledge of

an attempt by the artist to be commissioned to replace the

her own Kalabari culture was deepened and nurtured by her

sculpture of Chief Amachree in Buguma Town Square which

guardian, the British anthropologist Robert Horton.

was damaged in 1993/4. * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot

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LOT 29

NNENNA OKORE* (b. Nigeria, 1975)

LACE Rope and clay 2009 216 x 81 x 10cm (85 x 31.9 x 3.9in) Estimate: £10,000 - £14,000

Nnenna Okore was born in 1975 and spent her early life in

and natural or biodegradable materials in her practice, such

Nsukka, Nigeria. She studied painting at the University of

as newspaper, ropes, thread, wax, yarn, burlap, dye, coffee,

Nigeria where she graduated with First Class Honours, after

starch and clay. The repetitive and labour-intensive processes

which she worked under the mentorship of El Anatsui, who

she relies on to transform her media are ones she has learned

played a key role in her artistic development. Okore went on

by watching her fellow Nigerians perform daily tasks including

to receive an M.A. and M.F.A. in Sculpture from the University

weaving, sewing, rolling, twisting and dyeing.

of Iowa in 2004 and 2005. Lace explores the critical balance between fragility and Okore, who is now widely recognised as one of the most

firmness found within delicately formed fabric. Using a

important contemporary artists that Nigeria has produced,

combination of looped ceramic pieces and man-made fibre for

takes much of her visual inspiration from the environment and

its articulation, the exploration yields a strong yet diaphanous

specifically from her formative years spent in Nigeria - these

fluid form.

influence the textures, colours, materials and techniques she combines to create her largely abstract, and often intricate

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installations. For the most part, Okore uses found objects


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LOT 30

NNENNA OKORE* (b. Nigeria, 1975)

CONJOINED Handmade ceramic woven into burlap 2011 122 x 107 x 18cm (48 x 42.1 x 7in) Estimate: ÂŁ10,000 - ÂŁ14,000

Through the process of remoulding and reinventing unwanted materials Nnenna Okore provides a commentary on cultures based on consumption and disposal as well as recycling cultures both within Africa and worldwide. Her work is about the complex, strong and sometimes fragile relationships and linkages that make up the fabric of society and life itself. The idea of relationships and fusion of distinct but similar elements is the subject of Conjoined. Also evident is a play with textures and directional movement through the use of multiple repetitive patterns.

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LOT 31

SUZANNE WENGER (b. Austria, 1915 – 2009)

OBOTALA Oil on wood 61 x 92cm (24 x 36.25in) Estimate: £4,000 - £5,000

Suzanne Wenger, born in 1915 in Graz, Austria, was an active

The full title of this major work is “Obotala und Oduduwa

founding member of the Vienna Art-Club in 1947.

Kampfen um das privileg der erschaffung der welt” or “Obotala and Oduduwa fight for the privelege of being the creator of

“Suzanne Wenger and Ulli Beier first lived in Ibadan, then

the world”

moved to Epe and finally to Oshogbo in 1960. This is where she immersed herself into Yoruba poetry, mythology and religion and was initiated as a priestess without ever forsaking her existence as a modern artist. From this time she dedicated her efforts to the restoration and re-creation of derelict shrines of the Yoruba religion and did not have any further exhibitions for 25 years.” Source: Wolfgang Denk, English version by Gusti MerzederTaylor, The Susanne Wenger Foundation.


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LOT 32 DANIELE TAMAGNI (b. Italy, 1975)

ERIC MAZZAKAMPA AT RAPHA BOUNZEKI’S PARTY Gentlemen of Bacongo series Lambda C- print 2007/8. Signed sticker on verso, 2007-2008 92 x 66 cm (36.2 x 26in) Edition 2 of 10 Estimate: £1,500 - £2,400

LOT 33 SUZANNE WENGER (b. Austria, 1915 – 2009)

IWIM Lithograph print 1960. Signed “Suzanne Wenger” (lower right) 50 x 59cm (19.7 x 23.2in) Estimate: £2,000 - £3,000

LOT 34 MÁRIO MACILAU, (b. Mozambique, 1984)


Grand Hotel Series

Pigment Inkjet colour photograph on Cotton Rag paper 2011. Signed, with a certificate of authenticity 120 x 80cm (47.2 x 31.5in) Edition 1 of 6 Estimate: £1,000 - £1,600

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LOT 35

CYPRIEN TOKOUDAGBA (b. Benin, 1939-2012)

AYÉFODO Acrylic on canvas 2008. Signed ‘Tokoudagba CyprienBenin Abomey’ (lower right) 162 x 130cm (63.8 x 51.2in) Estimate: £3,400 - £4,500

Cyprien Tokoudagba was born in 1939 and died in 2012. He

This work references the Egungun, traditional secret societies

lived and worked in Abomey, Benin.

that invoke the spirits of dead ancestors to expose the strengths and weaknesses of the community and deliver

At an early age, Tokoudagba was sent to a Vodun temple to

messages, warnings and blessings to the community.

learn the skills of the priesthood. Whilst he chose not to follow a career as a priest, Vodun religious symbols can be seen

In this painting, the Egungun is holding a blue stick with the

throughout his work. In addition, his work as an art restorer

symbol of the elephant, which means ‘I am as strong as an

at The National Museum in Abomey gave him a profound

elephant in the middle of a river (the blue colour of the stick

understanding of Benin’s rich cultural and religious history,

and plate represents the river), I fear no one’.

which was central to his own paintings that are steeped in symbolism and mythology. ‘Ayéfodo’ is a Yoruba word that means ‘life is long- you never know what can happen’.


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LOT 36

TWINS SEVEN-SEVEN (b. Nigeria, 1944 – 2011)

THE HUNTER Mixed media on layered plywood 1988 239 cm x 120 cm (94.1 x 47.2in) Estimate: £4,000 - £6,000

One of Nigeria’s most celebrated visual artists Prince Twins

his primary subject the rich religious and historical traditions

Seven-Seven was born ‘Taiwo Olaniyi Oyewale-Toyeje Oyelale

and mythology of his Yoruba ethnic group.

Osuntoki’ in 1944 in Nigeria and died in Ibadan in 2011. The

The Hunter is a particularly fine example of the artist’s work

sole survivor of seven successive sets of twins, he renamed

from the late 1980’s, bought by its current owner from Twins

himself Ibeji Meje-Meje, or “Twins Seven-Seven” and as a

Seven-Seven’s show at The Italian Embassy in Lagos in 1988.

member of a royal lineage of the Yoruba people he took the title of Prince.

In 2005 Twins Seven-Seven was awarded UNESCO Artist for Peace. He achieved international fame, exhibiting at major

Twins Seven-Seven had worked as an itinerant singer and

museums across the world including the Pompidou Centre

dancer before he walked into one of the Mbari Mbayo art

and the Musée de L’Homme in Paris, the Museum of Modern

workshops led by Georgina and Ulli Beier in Oshogbo in 1964.

Art in New York, the National Museum of African Art in

He took to painting immediately, and became one of the stars

Washington, the Houston Contemporary Art Museum and the

of the Oshogbo school. While a modernist in style, he took as

National Museum of Art in Lagos, Nigeria.

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LOT 37


Pascale Marthine Tayou was

(b. Cameroon, 1966)

Cameroon and is one of the leading contemporary artists from


born in 1966 in Yaoundé,

the continent of Africa. Originally a lawyer, he began his career as an artist in the 1990’s, giving himself a new double name

Collage, drawing, metal frame

in the female form Pascale (e) Marthin (e). He left Cameroon


to set up a base in Belgium but has described himself as a

144 x 195cm (56.7 x 76.8in)

traveler. This nomadic aspect of his life deeply informs the

Estimate: £36,000 - £40,000

work he produces, which often explores thoughts connected to human environment, travel, identity and shared meaning across cultures. Tayou’s work spans a wide range of media, including drawing, sculpture, installation, video and collage and the materials he uses are varied; from found objects such as plastic bags and dolls to things with geographical and cultural references, like fruits, masks, feathers from Africa and pins, pearls and Belgian lace.


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Home Sweet Home is a superb and relatively rare example of

Senegal (1996). His work has been championed by prominent

a stand alone mixed media work as opposed to the much

curators such as Nicolas Bourriaud, who in 2002 gave him

larger installation pieces that the artist is well known for.

a solo show at the Palais du Tokyo and selected him for the

Tayou, albeit with tongue in cheek, once described himself as

Altermodern Tate Triennial in 2009, and Okwui Enwezor, who

a Belgian artist because he lives and works in that country;

included him in Documenta 11 (2002).

here he explores notions of “home” and identity through his childlike drawing style which in itself evokes the emotional importance of home for both children and adults. He constructs a map of the complex organic bonds that make up a metaphorical home that can encompass different continents and which he considers to be “everywhere” as humanity is now privy to so many cultural influences that in reality we no longer come from a single place. The materials used in the piece include, chalk, pearls and pins. Tayou’s work has been featured in

numerous leading

International exhibitions, such as the Biennials of Istanbul (2003), Lyon (2005), Venice (2005 and 2009) and Dak’Art,

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LOT 38

ISMAILA MANGA (b. Senegal, 1957)

Ismaila Manga is one of Senegal’s most interesting artists. He graduated from Senegal’s Ecole Nationale des Beaux Arts in 1982 and later spent thirteen years in Montreal where he attended L’Ecole International du


Design de Montréal before returning to Africa to rediscover his own continent. This urge to re-immerse himself in African culture lead

Pencil and Mixed Media on Canvas

him to take extensive exploratory journeys into neighbouring Mali to

2007. Signed “Ismaila Manga” on Verso

study the culture of the Dogon and other aspects of Malian culture.

142 x 245cm (55.9 x 96.5in) Estimate: £6,000 - £8,000

“I use the passing of days and nights to mark on canvas the imprint of time, letting the latter do its own work, materializing in rust obtained by the oxidation of metals. The photos I use in my work are just memories which I project on to the canvas, marked by time and drawn with a lead pencil, the simplest of materials that an artist can use.”


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LOT 39

BEN ENWONWU* (b. Nigeria, 1924-1994)

AFRICA DANCES Watercolour and gouache on card 1959Signed Ben Enwonwu (lower left), Dated 1959 27 x 19cm (10.6 x 7.5in) Estimate: £9,000 - £12,000

Ben Enwonwu is recognised as one of the great names of

“Like culture, Art changes its form with the times. It is setting

African modern art. He studied at Ruskin School of Art and

the clock back to expect that the art form of Africa today

the Slade. Enwonwu’s engagement with contemporary

must resemble that of yesterday otherwise the former will not

Western training was as unequivocal as his connection to the

reflect the African image. African art has always, even long

traditional art of his ancestors which had had such an impact

before western influence, continued to evolve through change

on the course of modern art.

and adaptation to new circumstances. And in like manner, the African view of art has followed the trend of cultural change

In Africa Dances Enwonwu explores one of his favourite,

up to the modern times.” 1950, Ben Enwonwu.

central themes – dance and ceremony. Here we see the artist’s characteristic elongation of figures to suggest movement and

* Please note that import VAT at the rate of 5% will be added to the hammer price on this lot


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LOT 40


Abdoulaye Konaté was born in Diré, Mali in 1953. He lives and

(b. Mali, 1953)

works in Bamako, Mali and is widely considered to be of the


greatest artists working in Africa today. He studied painting in Bamako and Havana, Cuba for seven years adding to his

Embroidered wall hanging, cotton and thread

experience his appropriation of textiles to mixed media



693 x 296cm (272.8 x 116.5in) Estimate: £55,000 - £75,000

When paint and canvas were unavailable to him, Abdoulaye Konaté began using materials native to Mali, namely raw or dyed woven cloth. The large scale textiles of sewn and applied fabric which he creates not only support the local economy but also reference the West African tradition of using textiles to commemorate and communicate. He combines the distinctive aesthetics of the local with global subject matter including democracy and dictatorship, religion and the state (particularly the rise of fundamentalism within Islam), AIDS, deforestation and the inequalities between North and South, merging political commentary and traditional craftsmanship.


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His response is never one of despair, but of hope, exploring the

youth. Since then we have seen war break out in Mali and

human condition through thoughtful and critical expression.

the destruction of ancient and irreplaceable manuscripts and cultural artefacts.

Iniva (Institute of International Visual Arts), commissioned Abdoulaye Konaté to make this major work for its fifth annual

One of Konate’s most important works, Power and Religion

window commission in December 2011.

(Pouvoir et Religion) stands as a monumental and prophetic statement about one of the biggest issues facing Africa and

Power and Religion (Pouvoir et Religion) 2011 is a 7m long

the world today the uneasy and complex relationship between

textile work, which explores the position of Christianity and

secular power and religion.

Islam within political and cultural life. The symbols of religion and government stand out graphically against the grey

In 2008 Konaté was nominated for the Artes Mundi Prize.

background, which is covered with white spots. The pieces of

Major group shows include documenta 12 in 2007 and Africa

this fabric represent the plumage of the guinea fowl, a bird

Remix, Contemporary Art of a Continent in 2005 at the

imbued with mythical symbolism in sub Saharan Africa.

Hayward Gallery, London which toured to Paris, Tokyo and Dusseldorf. Konaté and his work have received several awards,

When this work was first exhibited at INIVA in London in

including in 2002 the Chevalier de l’Ordre National du Mali

2011 the artist spoke of his anxieties about the future of his

and Chevalier de l’Ordre des Arts et des Lettres de France. is

country in the face of increasing radicalisation amongst the

Director of the Conservatoire for Arts & Media in Bamako.

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LOT 41

LOT 42



(b. Tanzania, 1934-2005)

(b. Tanzania, 1934-2005)



Acrylic on carved hardwood

Oil on canvas

2011. Signed “Lilanga”

Signed (lower right)

66 x 25 x 20cm (26 x 9.8 x 7.9in)

98 x 83cm (38.6 x 32.7in)

Estimate: £1,200 - £2,200

Estimate: £2,400 – 3,400


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LOT 44

LOT 43



(b. Mali, 1935)

(b. Mali, 1935)



Silver gelatin print from Malick Sidibé

Silver gelatin print from Malick Sidibé

1970. Signed and dated ‘Malick Sidibé 2011’ (lower right)

1965. Signed and dated ‘Malick Sidibé 2011’ (lower right)

50 x 40cm (19.7 x 15.7in)

50 x 40cm (19.7 x 15.7in)

Unique print

Unique print

Estimate: £2,000 - £3,000

Estimate: £2,000 - £3,000

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LOT 45


In Je m’étonne n°1 or ‘I am amazed‘, one of Bodo’s largest and

(b. Dem. Republic of the Congo,1953)

most ambitious paintings, explores his astonishment at the


ways of the world and at his own imaginative response to it.

Acrylic on canvas

We see here people flying in peanuts and pencils and birds

2006. Signed and dated ‘Art Bodo 2006’ (lower right)

and helicopters made of leaves - a satirical commentary on the

170 x 425cm (66.9 x 167.3in)

hold that witchcraft still has in Africa. On the left, the train

Estimate: £8,000 - £12,000

and cars are a symbol of the ever-increasing speed of modern urban life. The muscular man representing humanity’s over-inflated view of its own strength.


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LOT 46 NDARY LO* (b. Senegal, 1961)

THE WALK Welded iron 2013. Signed ‘N.L’ 35 x 41 x 8cm (13.8 x 16.1 x 3.1in) Estimate: £2,000 - £3,000 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.

LOT 47 NATHALIE MBA BIKORO (b. France, 1985)

FAMILY TREE, Photo- etching, Black ink on ivory paper 2011. Signed (lower right), dated 2011 21 x 74.5cm (8.3 x 29.3in) Edition 1 of 2 Estimate: £1,000 - £1,600

LOT 48 OWUSU-ANKOMAH (b. Ghana, 1956)

WEISS SCHWARZ (WHITE AND BLACK) Oil on Nettle cotton cloth 1989. Signed and dated “Owusu Ankomah 89” (top right) Estimate: £2,400 - £3,400

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LOT 49

LOT 50



(b. Nigeria, 1970)

(b. Benin, 1969)



Mixed media on canvas

Mixed media on paper


2008. Signed (Lower right)

132 x 81cm (52 x 31.9in)

46 x 37cm (18.1 x 14.6in)

Estimate: £3,600 - £4,500

Estimate: £1,000 - £1,600


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LOT 52

LOT 51



(b. Nigeria, 1937)

(b. Uganda, 1954 – 2009)



Oil on board

Oil on canvas

1986. Signed and dated ‘Chuks 86’ (lower right)

2006. Signed ‘MUKASA’ (lower right)

120 x 60cm (47.2 x 23.6in)

127 x 31cm (50 x 12.2in)

Estimate: £3,000 - £4,000

Estimate: £3,400 - £4,500

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LOT 53 LUDOV IC FADAIRO* (b. Benin, 1947)

ARCHIVISTE Pigments and acrylic on card 2012 120 x 80cm (47.2 x 31.5in) Estimate: £3,000 - £4,000 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.

LOT 54 VIYÉ DIBA* (b. Senegal, 1954)

TENSION II Mixed media on canvas 63.5 x 56cm (25 x 22in) Estimate: £3,600 - £4,500 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.

LOT 55 EDOSA OGIUGO (b. Nigeria, 1961)

MODEL STUDY Charcoal Drawing on paper Signed “Edosa Ogiugo” and dated 2012, (Lower Left) 71 x 51cm (28 x 20.1in) Estimate: £1,600 - £2,600


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LOT 56

JULIEN SINZOGAN (b. Benin, 1957)

RENCONTRE DANS UNE AUTRE VIE (MEETING AGAIN IN ANOTHER LIFE) Oil and coloured ink on paper 2011. Signed “Sinzogan” (lower right) 111 x 77cm (43.7 x 30.3in) Estimate: £7,000 - £9,000

Sinzogan’s mixed-media and fine pen-and-ink works conjure

Egungun masquerades, which celebrate the ancestor’s return

the world of the spirits and their gods (vodun and orisha),

to their native villages. These powerful symbolic images work

the gods to whom millions of enslaved Africans would have

as a salve to ease the lingering sore of that long compact of

prayed, departing through the ‘Gates of No Return’ in the slave

blood sealed between the African and European powers. Thus

ports of the West African coast. Yet Sinzogan does not portray

does art, by holding up a mirror reflecting our shared past,

these ports as sites of loss, but as triumphant arrival points for

render more clearly visible the path of our common future.

the homeward return of lost spirits about to be reborn. The

Source: The October Gallery

galleons in his works are not the dark evil-smelling slave ships of the Europeans, but are in the process of being transformed by their African cargoes into colourful and triumphant symbols of resistance. Above the sepia-tinted decks of the phantom caravelles racing under full canvas towards the African coast, the sails come to life with the richly coloured motifs of the

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LOT 57 TAYO QUAYE (b. Nigeria, 1954)

TITLES Linocut print 1994. Signed and dated 1994, (lower right) 91.5 x 71cm (36 x 28in) Edition 9 of 15 Estimate: £2,800 - £3,800


ABSTRACT IV Mixed media on canvas 2013. Signed “Tchif” (lower left) 101 x 101cm ( 39.8 x 39.8in) Estimate: £1,400 - £2,400 * Please note that import VAT at the rate of 5% will be added to the hammer price on this lot.

LOT 59 RACHID KORAÏCHI (b. Algeria, 1947)

ALBERT CAMUS Lithograph on paper 2008 38 x 28cm (15 x 11in) Estimate: £1,200 - £2,000


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LOT 60 KWAME AKOTO ‘ALMIGHTY GOD’ (b. Ghana, 1950)

SURREALISM Acrylic on board 2010. Signed “Almighty God” (lower right) 120 x 80cm (47.2 x 31.5in) Estimate: £1,600 - £2,600

LOT 61 JOSEPH MBATIA “BERTIERS” (b. Kenya, 1963)

KENYA’S CRAZIEST BAR Oil on canvas 2008 125 x 98cm (49.2 x 38.6in) Estimate: £3,000 - £4,000

LOT 62 FIDELIS ODOG WU EZE (b. Nigeria, 1970)

ROYALTY Metal sculpture 2011. Signed and dated 2011, (lower right) 77.5 x 63cm (30.5 x 24.8in) Estimate: £4,000 - £6,000

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LOT 63

ANTHONY OKELLO (b. Kenya, 1976)

UNTITLED Masquerade series Oil on canvas 2013. Signed ‘A.Okello’ (lower right) 143cm x 154cm (56.3 x 60.6in) Estimate: £3,400 - £5,000

Born in Kenya in 1976, Anthony Okello graduated from the

internationally including Uganda, India, France, and the

Buru Buru Institute of Fine Art and lives and works in Nairobi.

Netherlands. His work is held in several major private

He is considered to be one of the most important East African

collections in the U.K. and elsewhere.

artists of his generation and his work is beginning to receive international acclaim. This work is from the artist’s enigmatic and powerful Masquerade Series where he explores issues of human and racial identity and disguise. A painter of uncommon imaginative power, much of Okello’s work can be characterised as allegorical explorations of local mythology. Anthony Okello has exhibited widely in Kenya as well as


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THIS ONLINE AUCTION IS NOW OPEN FOR BIDDING LIVE ONLINE AUCTION: 7pm (UK time), 18th October 2013 at For all information on HOW TO BID go to PRIVATE VIEW: 17th October, 6.30pm – 8.30pm EXHIBITION: 18th October, 10am – 3pm The Music Room 26 S. Molton Lane Mayfair London W1K 5LF Specialist in charge: Ed Cross To contact Ed Cross directly, email: To contact The Auction Room, email Georgia Spray: | +44 (0) 20 7499 4406 Shipping: For all pre-sale and post-sale enquiries and to request a shipping quotation, please contact Connoisseur International, Telephone: +44 (0)20 8572 2955, or email:

W W W. T H E A U C T I O N R O O M . C O M +44 (0)20 7499 4406

Auction Room African Art Catalogue  

Lot 20

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