Lagos, Nigeria - Arthouse Contemporary

The Civic CentreOzumba Mbadiwe Road,

Victoria Island, Lagos.

Lagos, Nigeria

Modern and ConteMporary art

Monday, 22nd November 2010, 6 pm

Viewings:Friday 19th November, 10 to 5 pm

Saturday 20th November, 10 to 4 pmSunday 21st November, 12 to 6 pm

Monday 22nd November, 10 to 1 pm

COVERLOT #104SOKARI DOUGLAS CAMP

WOOD STARS AND MOON HEAD

BACK COVERLOT #75KAINEBI OSAHENYE

WHITE AFRICA

INSIDE FRONT COVERLOT #70ROM ISICHEI

A TALE OF THE UNEXPECTED

INSIDE BACK COVERLOT #44BEN ENWONWU

UNTITLED

OppOSITE CONTENTSLOT #10EMEKA UDEMBA

HITMAN

2 • ARTHOUSE CONTEMPORARY LIMITED ARTHOUSE CONTEMPORARY LIMITED • 3

ContentsLot Details 7-85

Terms and conditions 85

Absentee Bid form 93

Index 95

Acknowledgements 97

ARTHOUSE CONTEMPORARY LIMITED • 5


1

1ALEX NWOKOLO (b. 1963)

WAHEED (II)2010Mixed media on canvas106.7 x 101.6 cm. (42 x 40 in.)

Signed and dated (lower right)

₦ 450,000-600,000($ 2,903-3,871)

2OLA BALOGUN (b. 1972)

DUOLOGUE2010Oil on canvas 101.6 x 101.6 cm. (40 x 40 in.)

Signed and dated (lower left)

₦ 280,000-360,000($ 1,806-2,323)

2

3OLU AJAYI (b. 1963)

FOURTH THIEF2010 Oil on canvas90.2 x 90.2 cm. (35.5 x 35.5 in.)


₦ 280,000-400,000($ 1,806-2,581)

3


4ONYEMA OFFOEDU OKEKE

BOAT MAN2009 Acrylic on canvas182.9 x 121.9 cm. (72 x 48 in.)


₦ 450,000-600,000($ 2,903-3,871)

4

5KOFI AGORSOR (b. 1970)

REALITIES OF A WOMAN2010 Acrylic on canvas109.2 x 109.2 cm. (43 x 43 in.)

Signed (lower right)

₦ 450,000-510,000($ 2,903-3,290)

5

ARTHOUSE CONTEMPORARY LIMITED • 1110 • ARTHOUSE CONTEMPORARY LIMITED

6FRANCIS UDUH (b. 1964)

MASK I AND II2010Wood 83.8 cm. (33 in.)

Both signed and dated

₦ 250,000-350,000 ($ 1,613-2,258)

6A

6B

8DUKE ASIDERE (b. 1961)

THE BEAUTY OF POWER2010Oil on board 121.9 x 121.9 cm. (48 x 48 in.)


₦ 550,000-650,000 ($ 3,548-4,194)

7PEJU ALATISE (b. 1975)

OKIEMUTE (TIME FOR EVERYTHING)2010Oil on canvas 91.4 x 91.4 cm. (36 x 36 in.)


₦ 270,000-380,000 ($ 1,742-2,452)

9KELANI ABASS (b. 1979)

COBLER2009Pastel on paper 48.3 x 63.5 cm. (19 x 25 in.)


₦ 120,000-180,000 ($ 774-1,161)

7

9

8


10EMEKA UDEMBA (b. 1968)

HITMAN2009 Acrylic on canvas 199.4 x 129.5 cm. (78.5 x 51 in.)


₦ 380,000-500,000 ($ 2,452-3,226)

11

10

12

11BRUCE ONOBRAKPEYA (b. 1932)

DANCE IN THE BUSH I1998Additive plastograph 92.7 x 71.1 cm. (36.5 x 28 in.)

Signed, inscribed and dated (lower right)

₦ 400,000-600,000($ 2,581-3,871)

12BRUCE ONOBRAKPEYA

DANCE IN THE BUSH IV1998Additive plastograph 92.7 x 71.1 cm. (36.5 x 28 in.)


₦ 400,000-600,000($ 2,581-3,871)

13

14 • ARTHOUSE CONTEMPORARY LIMITED

13DAVID DALE (b. 1947)

THE NIGERIANS III1985 Deep etching74.9 x 48.3 cm. (29.5 x 19 in.)


₦ 230,000-300,000($ 1,484-1,935)


14MATT EHIZELE (b. 1958)

DISCIPLE2009Metal 91.4 cm. (36 in.)

Signed, inscribed and dated

₦ 600,000-700,000($ 3,871-4,516)

15KENNY ADEWUYI (b. 1959)

SITTING IN LIMBO1995Bronze11.4 x 33 cm. (4.5 x 13 in.)


₦ 300,000-400,000($ 1,935-2,581)

14

15


16

16OLIVER ENWONWU (b. 1975)

KING’S GUARD2010 Oil on canvas 121.9 x 76.2 cm. (48 x 30 in.)


₦ 380,000-450,000($ 2,452-2,903)

17TOYIN ALADE (b. 1961)

THE CALL 1986Oil on board 86.4 x 127 cm. (34 x 50 in.) Signed and dated (lower right)

₦ 540,000-660,000($ 3,484-4,258)

17

18CHUKS ANYANWU (b. 1937)

UNTITLED 1988Mixed media on board 38.1 x 48.3 cm. (15 x 19 in.) Signed and dated (lower left)

₦ 175,000-250,000($ 1,129-1,613)

18


19SAM OVRAITI (b. 1961)

CLOUD AND SKY WATCHING II 2010Mixed media on canvas 90.2 x 101.6 cm. (35.5 x 40 in.) Signed and dated (lower right)

₦ 450,000-550,000($ 2,903-3,548)

20ABIODUN OLAKU (b. 1958)

ELEMENTS 2010Oil on canvas 91.4 x 121.9 cm. (36 x 48 in.) Signed and dated (lower right)

₦ 1,200,000-1,500,000($ 7,742-9,677)

21KOLADE OSHINOWO (b. 1948)

CITY GIRLS2010 Oil on canvas 137.2 x 53.3 cm. (54 x 21 in.) Signed and dated (lower right)

₦ 1,700,000-2,00,0000($ 10,968-12,903)

21

19

20

22

23TAYO QUAYE (b. 1954)

DONKEY RIDERS 1983Deep etching 45.7 x 73.7 cm. (18 x 29 in.)


₦ 280,000–400,000($ 1,806–2,581)


HOMEWARD BOUND 1981Plastocast on board (plate for printmaking) 25.4 x 50.8 cm. (10 x 20 in.)


₦ 330,000–420,000($ 2,129–2,710)

23

25SOLOMON WANGBOJE (1930-1998)

A CONVERSATION FOR FOUR Print on paper39.4 x 45.7 cm. (15.5 x 18 in.)

₦ 250,000–300,000($ 1,613–1,935)

24OLISA NWANDIOGBU (b. 1960)

IFE HEAD2007 Metal foil on board104.1 x 104.1 cm. (41 x 41 in.) Signed and dated (lower right)

₦ 320,000–400,000($ 2,065–2,581)

24 25


26ABLADE GLOVER (b. 1934)

LORRY STATION2007Oil on canvas 121.9 x 152.4 cm. (48 x 60 in.) Signed and dated (lower right)

₦ 900,000–1,200,000($ 5,806–7,742)


2627

27ATO DELAQUIS (b. 1945)

GREAT TABLE TOP MARKET

Acrylic on canvas 121.9 x 243.8 cm. (48 x 96 in.)

Signed (lower left)

₦ 1,300,000–1,500,000($ 8,387–9,677)



28

28EL ANATSUI (b. 1944)

MIRROR IMAGE1994Wood panels 55.9 x 149.9 cm. (22 x 59 in.)


₦ 5,000,000-6,000,000($ 32,258-38,710)

29ROM ISICHEI (b. 1966)

PATIENCE2010Acrylic & oil on canvas 127 x 213.4 cm. (50 x 84 in.)


₦ 1,200,000-1,400,000($ 7,7742-9,032)

29


31

30CHIDI KWUBIRI (b. 1966)

UNTITLED2010Acrylic on Canvas 190.5 x 200.7 cm. (75 x 79 in.)


₦ 1,600,000-2,000,000($ 10,323-12,903)


31RICHARDSON OVBIEBO (b. 1982)

FROZEN DREAMS II2010Mixed media 91.5 x 99 cm. (36 x 39 in.)

Signed and dated (centre left)

₦ 180,000–300,000($ 1,161-1,935)

32RAHMAN AKAR (b. 1954)

THROBBED2009Enamel on board 121.9 x 121.9 cm. (48 x 48 in.)


₦ 400,000–480,000($ 2,581-3,097)

33UCHE EDOCHIE (b. 1975)

MEMORY FADES2005Acrylic on canvas 119.4 x 137.2 cm. (47 x 54 in.)


₦ 600,000–700,000($ 3,871-4,516)

34GERALD CHUKWUMA (b. 1973)

SMALL FISH, BIG FISH; FISH FISH2010Mixed media 170.2 x 222.3 cm. (67 x 87.5 in.)


₦ 600,000–800,000($ 3,871-5,161)

30


3332

34


35NNENA OKORE (b. 1975)

FLORA III2010Mixed media 61 x 91.4 cm. (24 x 36 in.)

₦ 750,000–1,000,000($ 4,839-6,452)

35


36EPEILE ANTHEA (b. 1972)

UNTITLED2009Oil on canvas 121.9 x 91.5 cm. (48 x 36 in.)


₦ 150,000–200,000($ 968-1,290)

36

37BISI FAKEYE (b. 1942)

UNTITLED2008Bronze 28 cm. (10.5 in.)


₦ 150,000–200,000($ 968-1,290)

37


38BEN OSAWE (1931-2007)

MAN WITH HAT1986Bronze 83.8 cm. (33 in.)

Signed and dated (rear)

₦ 1,100,000–1,500,000($ 7,097-9,677)

38


39 40

41

39ABAYOMI BARBER (b. 1934)

DANCERS1977Pencil on paper 30.5 x 20.3 cm. (12 x 8 in.)


₦ 250,000–330,000($ 1,613-2,129)

40ABAYOMI BARBER

DRUMMER1984Pencil on paper 30.5 x 17.8 cm. (12 x 7 in.)

Signed, inscribed and dated (lower left)

₦ 250,000–330,000($ 1,613-2,129)


41OKPU EZE (1932-1995)

MAIDEN1990Oil on board 82.6 x 68.6 cm. (32.5 x 27 in.)


₦ 600,000–750,000($ 3,871-4,839)


42OKPU EZE (1932-1995)

MASK1900Wood 114.3 cm. (45 in.)

₦ 700,000–960,000($ 4,516-6,194)

42

43BEN ENWONWU (1917-1994)

TOAREG BEGGAR1951Pastel on paper 34.3 x 22.8 cm. (13.5 x 9 in.)


₦ 1,200,000–1,400,000($ 7,742-9,032)

44BEN ENWONWU

UNTITLED1981Watercolour on paper 23.8 x 36.5 cm. (9.375 x 14.375 in.)


₦ 900,000–1,200,000($ 5,806-7,742)

43

44


46ANDAREG ACHWASCHENEV

JESUS (ETHIOPIAN b. 1961)1991Oil on board 58.4 x 30.5 cm. (23 x 12 in.)


₦ 200,000–300,000($ 1,290-1,935)

46

45TONY ENEBELI (b. 1956)

WRESTLERS1994Plastocast on board 57.2 x 152.4 cm. (22.5 x 60 in.)

Signed, inscribed and dated (lower left)

₦ 250,000–350,000($ 1,613-2,258)

45

47

47SUSANNE WENGER (1915-2009)

IWIN

Print 48.3 x 58.4 cm. (19 x 23 in.)


₦ 300,000–400,000($ 1,935-2,581)



49EDMUND TETTEH

THE WISE MANc. 1960Mixed media on board 67.3 x 41.9 cm. (26.5 x 16.5 in.)


₦ 250,000–350,000($ 1,613-2,258)

49 51

48EDMUND TETTEH

UNTITLEDc. 1960Mixed media on paper 62.2 x 43.2 cm. (24. 5 x 17 in.)


₦ 220,000–300,000($ 1,419-1,935)

48

51AMON KOTEI (b. 1915)

LANDSCAPE1996Oil on canvas 101.6 x 101.6 cm. (40 x 40 in.)


₦ 1,250,000–1,500,000($ 8,065-9,677)

50

50MAVUA LESSOR (b. 1960)

THE LAST OPTION2009Oil on canvas 101.6 x 101.6 cm. (40 x 40 in.)

Signed (lower left)

₦ 250,000–350,000($ 1,613-2,258)



52 53

52GEOFFREY MUKASA (1954-2009)

UNTITLED2002Mixed media on board 85.1 x 29.2 cm. (33.5 x 11.5 in.)


₦ 300,000–400,000($ 1,935-2,581)

53GEOFFREY MUKASA

UNTITLED2002Mixed media on board 83.8 x 27.9 cm. ((33 x 11 in.)


₦ 300,000–400,000($ 1,935-2,581)

54

54GEORGE HUGHES

PRIMITIVISM=SOPHISTICATION2003Oil on canvas 182.9 x 152.4 cm. (68.5 x 57 in.)


₦ 900,000–1,200,000($ 5,806-7,742)

55SOLY CISSE (b. 1969)

UNTITLED

Oil on canvas 149.8 x 149.8 cm. (59 x 59 in.)

₦ 900,000-1,200,000($ 5,806-7,742)

55


56DEMAS NWOKO (B. 1935)

THE WISE MAN

Wood 72.4 cm. (28.5 in.)

₦ 5,000,000–6,000,000($ 32,258-38,710)

DEMAS NWOKO

Demas Nwoko (b. 1935) was, with Uche Okeke and Bruce Onobrakpeya, a leading member of the Art Society, the legendary group formed in 1957 by students at the Nigerian College of Arts Science and Technology, Zaria as the vanguard of postcolonial modernism in Nigeria. After earning a diploma as a painter Nwoko soon established himself as an influential sculptor, theatre designer, and architect; he has consistently argued for an Africa-centred art and design aesthetic. From the late 1960s, Nwoko concentrated more on architecture and design, having created his last major body of work in painting and sculpture in 1968. Since then, he has designed and built several important public buildings, including his New Culture Centre, Ibadan, the Dominican Monastery, Ibadan, the Akenzua Cultural Centre, Benin City, and the Benedictine Monastery, Ewu.

The incredible diversity of Nwoko’s creative output, but especially his preoccupation with design and architecture for the past several decades makes his paintings and sculptures extremely rare; only the National Gallery of Modern Art, Lagos and the Iwalewa-Haus, University of Bayreuth are known to have his work in their collection. The Wise Man (c. 1962) and Ambush*(1967) presented here are two important works that mark the range of his thematic interests.

The Wise Man depicts a balding man with a large head seated on the floor with his hands in a gesture that suggests he is either speaking to an imaginary audience or making supplication to the gods. The summary description of the figure’s anatomical features, the carefully worked, surface chisel marks, the barrel chest and thin hip, all are similar to the formal character of Nwoko’s wood masterpiece Adam and Eve (1962). In his wood sculpture the artist came close to translating Igbo ritual sculpture style into a modern sculptural language, which is comparable to his better-known achievement in architecture. The figure of the philosopher or wise man—here equated with age, and signified by the man’s baldness and beard as is often the case in traditional African sculpture—reflects the respect of the elderly, because of their accumulated life experiences, in traditional African societies.

56

57DEMAS NWOKO

AMBUSH

Oil on board 121.9 x 61 cm. (48 x 24 in.)

₦ 3,000,000-4,000,000($ 19,355-25,806)

57

Ambush* on the other hand is part of a series of paintings and terracotta sculptures Nwoko created at the onset of the Nigerian Civil War (1967-1970). The entrance of the military into Nigerian politics in the wake of the first military coup in 1966 marked the beginning of the end of the post-independence euphoria of the 1960. In this painting, the companion piece of which is in the Demas Nwoko Foundation collection, a figure in battle gear stands at ease clutching a strangely biomorphic gun, his prominent eyes trained directly at the viewer, as if in confrontation. As in Nwoko’s other work, the disfiguration of the soldier’s facial anatomy is so extreme that it is almost a caricature. Through a characteristic play of negative and positive compositional space, the figure seems well adapted in his environment, and thus comes across as a premonition of the decades of military dictatorship in post-independence Nigeria. - CO

(*Ambush was previously called Combatant II. The re-titling is by the artist)


...continued


58BEN OSAGHAE (b. 1962)

Ben Osaghae schematises his pictorial compositions. His forms are suggestive gestures of dynamic human activities. He questions the rationale behind social policies of government and provides answers that are saturated in visual innuendo. - KF

YOUTH SERVICE2000Oil on canvas 135.9 x 207 cm. (53.5 x 81.5 in.)


₦ 900,000–1,200,000($ 5,806-7,742)

59DELE JEGEDE (b. 1945)

SUPPLICATION1991Oil on board 71.1 x 61 cm. (28 x 24 in.)


₦ 500,000–660,000($ 3,226-4,258)

58

56

60GANI ODUTOKUN (1946-1995)

UNTITLED

Oil on canvas 88.9 x 61 cm. (35 x 24 in.)

₦ 1,200,000–1,500,000($ 7,742-9,677)

60


61GANI ODUTOKUN (1946-1995)

Gani Odutokun (1946-1995), arguably one of the most influential painters in 20th century Nigeria, studied at the Ahmadu Bello where he trained under the legendary British teacher Charles Argent. A consummate draughtsman, Odutokun’s early paintings reveal his fascination with equine forms and genre subjects rendered with bold painterly brushwork. In the 1980s Odutokun championed the effort by a group of younger artists who wished to reposition Zaria as a leading centre of contemporary art. He helped found The Eye Society, the artist group known for its criticism of the trend in contemporary Nigerian art toward appropriation of traditional art forms. He died in a car accident at the height of his artistic career.

Odutokun firmly believed in experimentation with painting methods, even when it resulted in a constantly changing formal style. In the early 1980s he began using liquidised oils which he poured on his canvases, barely controlling the flow to create multi-layered, abstract shapes of colour. By combing these unpredictable forms with summarily described figural and architectural elements he achieved a method of picture making that seamlessly merged abstraction and narrative painting. Townscape with Strange Figures (1993) presented here exemplifies Odutokun’s early 1990s painting style. The limited palette, the evanescent figural forms on the lower right, and the linear architectural structures in the middle ground, are all recognizable elements of his late pictures. - CO

TOWN SCAPE WITH STRANGE FIGURES1993Oil on canvas 91.4 x 91.4 cm. (36 x 36 in.)


₦ 1,600,000–1,800,000($ 10,323-11,613)

61


63GBENGA ORIMOLOYE (b. 1968)

MODEL II1995Oil on board 68.6 x 48.3 cm. (27 x 19 in.)


₦ 150,000–200,000($ 968-1,290)

63

64FELIX OSIEMI (b. 1961)

MAIDEN1999Oil on canvas 115.6 x 64.8 cm. (45.5 x 25.5 in.)


₦ 500,000–600,000($ 3,226-3,871)

64


62SINA YUSSUFF (b. 1943)

AT THE NEW YAM FESTIVAL1986Oil on board 91.4 x 121.9 cm. (36 x 48 in.)


₦ 900,000–1,200,000($ 5,806-7,742)

62

65SIMON OKEKE (1937-1969)

Simon Okeke (1937-1969) was the only sculptor member of the Art Society (1958-61), the group of students at the then Nigerian College of Art, Science and Technology, Zaria whose work changed the direction of Nigerian modernism in the post-independence era. Although he continued making sculptures after Zaria, his reputation as an artist rests on the use of watercolour to create a style his artist-friend Uche Okeke described as “ritual realism.” Simon Okeke was a founding member of the Society of Nigerian Artists, and a curator at the National Museum, Lagos. He died during the Nigerian Civil War.

Lady (1965) presented here is a fine example of Okeke’s watercolour. It depicts a woman in a dark room, perhaps a toilet, gazing at her own reflection in an ornate, oval mirror. Her beaded necklace, large bracelets, and beaded girdle might be signifiers of a traditional African subjectivity, yet the mirror and drapery—the shapes of which rhyme with her egg-shaped head—situates her in a modern, western interior. As is typical of the artist’s style, the pictorial elements in this composition are defined by dark lines and harsh highlights set against the background colour of the paper. The result is a monochromatic, yet richly textured surface. The style speaks to Okeke’s abiding interest in simulating sculptural form in a two-dimensional format. Like the carver revealing the form hidden in the block of wood or stone, Okeke starts with a grey-toned paper, methodically bringing out his composition by applying ink or pencil marks and scratching out parts of the emerging picture. - CO

LADY1965Watercolour on paper 30.5 x 25.4 cm. (12 x 10 in.)


₦ 600,000–800,000($ 3,871-5,161)

65


67IDOWU OTUN (1956-1988)

FINAL SAY1994Oil on board 121.9 x 61 cm. (48 x 24 in.)


₦ 300,000–450,000($ 1,935-2,903)

67

68

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68TOLA WEWE (b. 1959)

A LATENT DESIRE2007Acrylic on Canvas 121.9 x 115.6 cm. (47.5 x 45.5 in.)


₦ 500,000–650,000($ 3,226-4,194)

69NIKE OKUNDAYE (b. 1951)

SYMBOLS OF UNITY2002Oil on canvas 129.5 x 134.6 cm. (51 x 53 in.)


₦ 550,000–700,000($ 3,548-4,516)

66TAYO ADENAIKE (b. 1954)

UNTITLED1998Watercolour on paper 45.7 x 61 cm. (24 x 18 in.)

₦ 300,000–400,000($ 1,935-2,581)

66


70

71OLU AMODA (b. 1959)

MEDITATION2008Metal 57.5 x 101.6 cm. (62.5 x 40 in.)


₦ 900,000–1,200,000($ 5,806-7,742)

71

70ROM ISICHEI (b. 1966)

A TALE OF THE UNEXPECTED2009Mixed media 139.7 x 236.2 cm. (55 x 93 in.)

Signed (back )

₦ 1,400,000–1,600,000($ 9,032-10,323)


72PEJU ALATISE & FIDELIS ODOGWU

THEY KNOW NOT WHAT THEY DO2010Mixed media on canvas 121.9 x 184.1 cm. (48 x 72.5 in.)


₦ 660,000–750,000($ 4,258-4,839)

74OLUMIDE ORE SEGUN (b. 1981)

THE LAST STANZA2009Oil on canvas 121.9 x 135.9 cm. (48 x 53.5 in.)


₦ 380,000–450,000($ 2,452-2,903)


72

74

73

73JOE AMENECHI (b. 1961)

UNTITLED2005Plastocast on board 45.7 x 147.3 cm. (18 x 58 in.)


₦ 150,000–250,000($ 968-1,613)

75KAINEBI OSAHENYE (b. 1964)

WHITE AFRICA2003Mixed media on canvas 147.3 x 130.8 cm. (58 x 51.5 in.)


₦ 1,000,000–1,200,000($ 6,452-7,742)

76AKINOLA LASEKAN (1916-1972)

How a period can be mirrored in a face! Akinola Lasekan painted this portrait of Pa Lawani Ogunimika in 1968. It was a year that kept everybody in Nigeria watchful. The Biafran civil war had broken out the previous year. It now reached its most critical stage. Lasekan had been teaching at the University of Nigeria in Nsukka, but he had left it in 1966, when Nigeria’s first president, Nnamdi Azikiwe, ‘Zik of Africa’, had been ousted by a coup. Zik had been the mentor and employer of Lasekan when the artist from the 1940s participated as a leading political cartoonist in the nationalist movement for independence. They were both troubled by the brutality of the civil war.

It is not farfetched to see the period reflected in the tense character of this outstanding portrait by Lasekan with its sharp-edged naturalism, its penetrating gaze, its dogged outlook and high degree of concentration. Here the difference between Lasekan’s realism and that of his twenty-eight years older teacher Aina Onabolu is very obvious. While Onabolu worked with the reserve of an educationalist, Lasekan here paints with the empathy of an activist. - EN

PORTRAIT OF PA LAWANI OGUNYIMIKA, BRONZE CASTER , ILE IFE1968Oil on canvas 50.8 x 40.6 cm. (20 x 16 in.)


₦ 2,200,000–2,500,000($ 14,194-16,129)


75

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78AMOS OKOSUN ODION

FIRST WIFE1991Wood 99 cm. (39 in.)


₦ 600,000–800,000($ 3,871-5,161)

77A. AKANDE (b. 1942)

ARIYA2007Acrylic on Canvas 152.4 x 120.7 cm. (24 x 48 in.)


₦ 275,000–350,000($ 1,774-2,258)

79ASHIRU OLATUNDE (b. 1917)

HUNTER KING CORONATION

Aluminum panel 92.4 x 50.8 cm. (36.375 x 20 in.)

Signed (lower centre)

₦ 300,000–400,000($ 1,935-2,581)


77 79

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80BEN ENWONWU (1917-1994)

Ben Enwonwu remains one of the best known modern African artists rests, more so for his role in asserting the relevance of visual artists in the African anti-colonial cultural movements of the mid-twentieth century. The youngest member of Kenneth C. Murray’s special art class, Enwonwu was alone among his peers to go beyond the naïve pictorial naturalism prescribed by Murray. His further training at the Ruskin College, Oxford and Slade School of Art, London, his encounters with European modernism, and his engagement with Paris-based Negritude movement, gave his work a sophisticated edge unmatched by any Nigerian artist before him. Enwonwu was appointed Federal Art Supervisor upon return from England in 1948, making him the most visible modern artist in Nigeria. He used his position to push for raising the stature of contemporary artists in colonial Africa, and was a prominent critic of European control of the Nigerian art and culture sector. In the early 1970s, he was appointed Professor of fine arts at the University of Ife. Without a teaching portfolio, the professorship turned into one of the most productive periods in his artistic career.

“Nigerian Road,” this undated watercolour was most likely produced during Enwonwu’s tenure at Ife. Although he never quite stopped painting landscape scenes since the 1930s while studying with Murray, this work shows him at the height of mastery of the watercolour medium. The towering trees on both sides of this rural road create a space reminiscent of awe-inspiring naves of Gothic cathedrals; the viewer is thus made to contemplate the sublime and metaphysical dimensions of the ancient rainforests that often served as sacred groves in Ife, and other parts Southern Nigeria. The subtle handling glazed colours, and suggestion of areal perspective, recall similar treatment of human figures in the “African Dances” he painted at the time. - CO

NIGERIAN ROAD

Watercolour on paper 63.5 x 49.5 cm. ((25 x 19.5 in.)

₦ 3,000,000–3,800,000($ 19,355-24,516)

81BEN ENWONWU

THE LANDSCAPE1953Oil on canvas 61 x 91.4 cm. (24 x 36 in.)

Signed (lower left)

₦ 4,000,000-5,000,000($ 25,806-32,258)


80

81


82

83

83BEN OSAWE (1931-2007)

The rhythmic accompaniment of the appended antelope horns, which abstractly formalized enclose a slender, gracefully simplified animal head, lends a musical beauty to this wooden sculpture. When Ben Osawe in 1976 returned to Benin, where his father had been a court sculptor, he could draw inspiration from classical Benin sculptures of animals. He had in his luggage ten years of studies in London, where mastering realism as well as Cubist-Vorticist modernism enabled him to interpret in a personal way the traditional African art he wanted to revive. - EN

UNTITLED1991Wood 124.5 cm. (49 in.)

Signed and dated (lower front)

₦ 1,600,000–2,000,000($ 10,323-12,903)

82ERAHBOR EMOKPAE (1934-1984)

Erhabor Emokpae dedicated himself to the promotion of Edo cultural traditions, a commitment that was largely informed by a childhood spent in the company of traditional Edo sculptors. But after training at the Yaba Technical College in the 1950s, he practiced as a successful graphic designer, before establishing himself as an artist in Lagos in the early 1960s. Although Emokpae achieved national renown with his controversial symbolic and abstract paintings, he remained a sculptor for most of his career. And despite his avowed identification with the rich history of Edo arts and crafts, Emokpae’s sculpture often showed the influence of British modernist sculpture. Specifically he used negative space as an important compositional element in a manner reminiscent of the biomorphic works of Henry Moore and Barbara Hepworth, although he used this trope to symbolise what he called the philosophy of Dualism.

“Snake on a Pole” (c. 1970) is a most unusual piece. Consisting of a circular base and a thin vertical element, it depicts a large python spiraling up a smooth featureless pole. The animal’s body is decorated with regular, carefully worked geometric patterns, its tail encircling the flat base. Unlike most of Emokpae’s sculptures, space is here tightly compressed, giving the sculpture its compact volume reminiscent of early 15th-century Benin brass plaques. Here, Emokpae comes closest to a sculptural language profoundly influenced by Benin royal sculpture, for the python presented here recalls, in both its monumentality and surface decoration, the gigantic brass pythons that once cascaded down Benin palace roofs. - CO

SNAKE ON A POLE1970Wood 165 cm. (64.5 in.)

₦ 1,500,000–2,000,000($ 9,677-12,903)

85BISI FABUNMI (b. 1945)

UNTITLED

Collage on board 148.6 x 94 cm. (58.5 x 37 in.)


₦ 700,000-850,000($ 4,516-5,484)

86UCHE OKEKE (b. 1933)

HAUNT OF DWARFS1965Oil on board 62.2 x 120.7 cm. (24.5 x 47.5 in.)


₦ 3,800,000–4,800,000($ 24,516-30,968)


85

8684

84KOLADE OSHINOWO (b. 1948)

Kolade Oshinowo (b. 1948), the Lagos-based painter, is regarded as one of the most influential modern painters in Nigeria. A 1972 graduate of the Ahmadu Bello University, Zaria, in 1974 he moved to Yaba College of Technology, Lagos where, after the tenure of Yusuf Grillo, he became the doyen of painting and the leading figure in the Lagos Landscape School. His stature, in this regard, compares with those of his contemporaries, Obiora Udechukwu at Nsukka, and Gani Odutokun in Zaria. Oshinowo served as the Dean of the School of Art, Design & Printing at Yaba, and Deputy Director of the College. He is a past President of the Society of Nigerian Artists.

In the manner of pre-Impressionist European painters, Oshinowo saw the landscape not as a subject the truth of which the painter is obligated to record. Rather it presented to him visual tropes with which to construct imaginary settings for various kinds of human drama. His landscapes are often composed from multiple photographs. Yet his use of fat pigment and his method of building up his pictorial elements such as human figures or foliage by juxtaposing different shades and colours of paint, give his painting such as Untilted (1991) presented here the feel of post-Impressionist painting. In this sense the landscape, for Oshinowo provides him materials for testing the possibilities and limits of paint as a compositional tool. The subject depicted here—of white-clad priests in twilight ritual procession—is not any more important than the optical drama enacted on the picture surface by hot cadmium red, orange and white paints in a field of dark, thick pigments. It is the latter that guarantees Oshinowo’s reputation as an accomplished colourist. - CO

UNTITLED1991Oil on board 80 x 99 cm. (30 x 37.5 in.)


₦ 1,800,000–2,500,000($ 11,613-16,129)

88CHINWE UWATSE (b. 1960)

IMPOSSIBLE DREAMS2007Watercolour on paper 59.7 x 45.7 cm. (23.5 x 18 in.)

Signed and dated (centre right)

₦ 175,000–230,000($ 1,129-1,484)

89KELANI ABASS (b. 1979)

BODY LANGUAGE I ASSEMBLAGE2009Oil on canvas mounted on board 106.7 x 77.5 cm. (42 x 30.5 in.)


₦ 220,000–300,000($ 1,419-1,935)

87BEN OSAGHAE (b. 1962)

THE NAIRA GIRLS1998Oil on vanvas 121.9 x 152.4 cm. (48 x 60 in.)


₦ 650,000–750,000($ 4,194-4,839)


87

88

89

90J.D OJEIKERE (b. 1930)

SUKU SINERO-KIKO

Photograph printed on aluminum 90.2 x 90.2 cm. (35.5 x 35.5 in.)

₦ 600,000–750,000($ 3,871-4,839)

91J.D OJEIKERE

MKPUK EBA

Photograph printed on aluminum 90.2 x 90.2 cm. (35.5 x 35.5 in.)

₦ 600,000–750,000($ 3,871-4,839)

93KELECHI AMADI OBI (b. 1969)

MILK2009Photograph 127 x 101.6 cm. (50 x 40 in.)

₦ 300,000–400,000($ 1,935-2,581)


90

91 93

94GEORGE OSODI (b. 1974)

DE MONEY2009Photograph 78.7 x 119.4 cm. (31 x 47 in.)

₦ 475,000–600,000($ 3,065-3,871)

95GEORGE OSODI

SABON GARI RIVER2006Photograph 80 x 119.4 cm. (47 x 31.5 in.)

₦ 475,000–600,000($ 3,065-3,871)

96DISEYE TANTUA (b. 1974)

NOT FOR SALE2010Oil on canvas 90.2 x 121.9 cm. (35.5 x 48 in.)


₦400,000–500,000($ 2,581-3,226)


94

95

96

97DUKE ASIDERE (b. 1961)

YELLOW HOUSE2001Oil on canvas 121.9 x 121.9 cm. (48 x 48 in.)

Signed, inscribed and dated (lower right and left)

₦ 550,000–700,000($ 3,548-4,516)

99KUNLE ADEGBORIOYE (b. 1966)

UNTITLED2009Print on canvas 101.6 x 119.4 cm. (40 x 47 in.)


₦ 400,000–525,000($ 2,581-3,387)

98EDOSA OGIUGO (b. 1961)

DANCE SERIES2009Oil on canvas 90.2 x 90.2 cm. (35.5 x 35.5 in.)


₦ 450,000–550,000($ 2,903-3,548)


97 99

98

100WIZ KUDOWOR (b. 1957)

NECTAR OF FERTILITY1997Acrylic on canvas 160 x 158.75 cm. (63 x 62.5 in.)


₦ 1,100,000–1,300,000($ 7,097-8,387)

100

104SOKARI DOUGLAS CAMP (b. 1958)

WOOD STARS AND MOON HEAD2010Metal and wood 85.1 cm. (33.5 in.)

₦ 1,350,000–1,500,000($ 8,710-9,677)

103

102MONDAY AKHIDWE (b. 1962)

METAMORPHOSIS

Ebony wood 180.3 cm. (71 in.)

₦ 400,000–500,000($ 2,581-3,226)

101FIDELIS ODOGWU (b. 1970)

SEATED FIGURE2010Metal 63.5 cm. (25 in.)

Signed and dated (back)

₦ 300,000–400,000($ 1,935-2,581)


101

102

103TAYO QUAYE (b. 1954)

AFTER BATH II2001Plastocast on board (plate for printmaking) 91.4 x 61 cm. (36 x 24 in.)


₦ 850,000–1,000,000($ 5,484-6,452)

104


GRAPE THIEVES2010Glass beads on board 101.6 x 203.2 cm. (39.5 x 80 in.)

Signed and dated (lower centre)

₦ 900,000–1,200,000($ 5,806-7,742)

107JIMOH BURAIMOH

UNTITLED1980Bead on board 101.6 x 83.8 cm. (40 x 33 in.)

Signed and dated (lower middle)

₦ 650,000–800,000($ 4,194-5,161)106

JIMOH BURAIMOH (b. 1943)

ALANGBA (LIZARD)1979Print (28/40) 43.2 x 58.4 cm. (17.5 x 23 in.)


₦ 200,000–280,000($ 1,290-1,806)


105

106 107

108RUFUS OGUNDELE (1946-1996)

MOTHERHOOD1987Oil on board 64.8 x 63.5 cm. (25.5 x 25 in.)


₦ 420,000–500,000($ 2,710-3,226)

109RUFUS OGUNDELE

LADY’S CONGRESS1987Oil on board 63.5 x 48.3 cm. (25 x 19 in.)

Signed and dated (lower centre)

₦ 420,000–500,000($ 2,710-3,226)

110RUFUS OGUNDELE

ARTIST STATE OF MIND1981Oil on paper 76.2 x 49.5 cm. (30 x 19.5 in.)


₦ 275,000–400,000($ 1,774-2,581)


108

109

110

111MURAINA OYELAMI (b. 1940)

UNTITLED2006Oil on board 121.9 x 182.9 cm. (48 x 72 in.)


₦ 900,000-1,200,000($ 5,806-7,742)

112MURAINA OYELAMI

UNTITLED2006Oil on board 121.9 x 76.2 cm. (48 x 30 in.)


₦ 450,000-600,000($ 2,903-3,871)

111

112

113TWINS SEVEN SEVEN (b. 1941)

RAINBOW GODDESS, FRATERNITY GODDESS1981Woodcut on board 243.8 x 121.9 cm. (96 x 48 in.)


₦ 1,600,000–1,800,000($ 10,323-11,613)

115BRUCE ONOBRAKPEYA (b. 1932)

JEMOTO MRI RU (JOBS FOR THE PEOPLE)1982Plastocast on board 203.2 x 69.85 cm. (80 x 27.5 in.)


₦ 600,000–900,000($ 3,871-5,806)

114BEN OSAWE (1931-2007)

UNTITLED1968Wood 108 cm. (42.5 in.)


₦ 1,200,000–1,600,000($ 7,742-10,323)


113

114 115

116OYERINDE OLOTU (b. 1959)

BARIGA2009Acrylic on Canvas 68.6 x 94 cm. (27 x 37 in.)


₦ 400,000–550,000($ 2,581-3,548)

117SUSSAN OMAGU (b. 1973)

FAMILY2008Mixed media on canvas 78.7 x 99 cm. (31 x 39 in.)


₦ 225,000–300,000($ 1,452-1,935)

118CHIDI KWUBIRI (b. 1966)

THE RESPONSE2009Acrylic on canvas 160 x 200.7 cm. (63 x 79 in.)


₦ 1,300,000-1,500,000($ 8,387-9,677)

END OF SALE


116

117

118

TERMS & CONDITIONS

Conditions of SaleThe “Conditions of Sale” and “Limited Warranty” are published in the catalogue and on the company’s website (arthouse-ng.com). Arthouse Contemporary encourages bidders to be familiar with these documents as they set out the terms on which property is bought at auction.

Bidder RegistrationWe require prospective buyers to register at least 72 hours before the auction. All first-time registrants will be required to supply a bank reference to complete this process. Arthouse Contemporary will be available to answer any individual questions about this process or if assistance is required. Registered bidders who arrive at the auction will be given a numbered paddle for bidding.

BiddingThe auctioneer accepts bids from those present in the saleroom or absentee written buds left with Arthouse Contemporary in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by entering bids in response to those made in the saleroom and/or absentee bids. After the reserve is met, the auctioneer will not execute any further bids.

Absentee BidsA registered prospective buyer that is unable to attend the auction can complete a written instruction in the form of an absentee bid. This would be a maximum amount the bidder is willing to declare as the hammer price. Arthouse Contemporary will attempt to execute an absentee bid at the lowest possible price taking into account the reserve price. If identical bids are made for the same lot, the first bid received by Arthouse will take priority. The auctioneer may execute absentee bids himself with a verbal declaration that he is doing so. Absentee Bid forms are available in this catalogue and on Arthouse Contemporary’s website for submission by fax or by electronic delivery. As indicated in the Conditions of Sale, Arthouse Contemporary will confirm receipt of absentee bids up to 24 hours after submission by the prospective buyer. If the prospective buyer has not received a confirmation, he or she is responsible for follow-up with Arthouse Contemporary.

Successful BidsThe sound of the auctioneer’s hammer signifies that the final bid has been made and accepted. At that time, the buyer assumes full responsibility for payment of this lot. The results of absentee bids, if successful, will be conveyed to the absentee bidder at their preferred form of contact, indicated on the absentee bid form. The successful bidder will pay the hammer price plus the premium and any applicable value added tax.

EstimatesEstimates are based upon market prices for similar works by the same artists, and, where applicable, upon prices recently paid at auction for comparable works. Estimates are subject to revision.

ReservesThe reserve price is a minimum hammer price for which the work will be sold. If the reserve is not met, the lot will remain unsold. The reserve does not exceed the low pre-sale estimate but the sum remains confidential.

Buyer’s PremiumArthouse Contemporary charges a flat-rate premium to the buyer of 10% on the hammer price of the lot.

TaxA value added tax of 5% will be charged to the buyer for the total price paid (hammer price plus buyer’s premium).

Payment InstructionsPayment must be made within seven calendar days of sale. This applies even if the buyer wishes to export the lot and the export license is (or may be) required. The buyer, while assuming responsibility for the completion of payment, will not acquire title and possession of the lot until all amounts due to Arthouse Contemporary have been paid. Payment is accepted in the form of cash, cheque or telegraphic transfer in Nigerian Naira unless otherwise indicated. Cheques will need clearing before a purchase is released. Please note that transfer of lots is not recognized. The successful bidder at auction will be solely responsible for payment of the purchase to Arthouse Contemporary. Although we allow bidding at the auction by proxy, this arrangement has to be declared by the prospective buyer in writing before the auction, if not on the Bidder Registration Form”.Apoplicable payment details are available to the buyer on request.

ShippingA shipping form is enclosed with each invoice. The buyer is responsible to pick up purchases or make all shipping arrangements. Arthouse Contemporary can arrange delivery for a purchased lot including property packing, transit insurance and shipping at an additional cost if the buyer so requests.

Export/Import PermitsProperty sold at auction will be subject to Nigerian law regarding the export of certain items as well as to import restrictions of foreign countries. It is the buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Buyers can consult Arthouse Contemporary for regulatory understanding as well as for assistance in securing an export license from Nigeria. Arthouse Contemporary will submit any applications for such a license on behalf of the buyer if so requested. However, Arthouse Contemporary cannot ensure that a license will be obtained.

CollectionFull collection details will be enclosed with the invoice. All lots will be available for collection in a predetermined, and insured, location in Lagos for 7 days after the auction date.

StorageArthouse Contemporary can offer the purchaser assistance in storage and shipping if so required. If purchases are not collected within seven days after the auction, storage will be arranged at the buyer’s expense.

InsuranceArthouse Contemporary provides insurance cover for sold items for a maximum of 7 days after the date of the auction. After this period, the lot will be held in a storage facility entirely at the buyer’s risk.

Buying at Arthouse Contemporary


Important Notices and Explanation of Cataloguing PracticeCondition ReportsArthouse Contemporary’s condition reports only include information on known restoration, alterations or replacement components. Please contact us for a condition report on a particular lot. Condition reports are provided as a service to interested clients. Prospective buyers should note that descriptions of property are not warranties and that each lot is sold “as is”.

Other conditions and information(a) All metric dimensions are approximate. All other dimensions (such as the English system) are converted from the metric dimensions then rounded off; they are contained in parentheses.

(b) All estimates are calculated in the local currency of the auction. USD estimates, contained in parentheses, are used for reference only, they do not propose USD payment. All payments are to be made in the local currency.The exchange rate is subject to prevailing market rates. The rate displayed in this catalogue is indicative only and taken around the time of catalogue publication with no predictions on future trends. The exchange rate taken is printed afresh in this section for each catalogue, and further rounded of for the purposes of readability and presentation.i. The exchange rate of 155 Nigerian Naira to 1 US Dollar was taken in October, 2010. Present instability of the Nigerian Naira require us to convert the existing USD estimates to a revised Naira estimate at a current exchange rate announced to all registered bidders on or before the date of the sale.

By Placing a Bid at or before the auction, the bidder agrees to be bound by the terms herein.

Preconditions1. Arthouse Contemporary acts as agent for the seller and, therefore, the contract of sale is made between the seller and the buyer.

2. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue entry. This can be done by, for example, a personal inspection and examination of the property in which they are interested, a review of the condition report, a consultation with the artist or any other authority on the subject (if known to the buyer) and/or a review of past-sales amounts for similar items, where available. To facilitate in this process, Arthouse Contemporary provides free viewings of the consigned lots prior to the auction, condition reports of individual works, available on request, and price comparables of works sold at auction.

3. Neither Arthouse Contemporary nor the seller provides any guarantee in relation to the property, which is sold in “as is” condition to the buyer, except as stated in the Limited Warranty in paragraph 19 below. This pertains to, but is not limited to, the condition of the work, the authorship and authenticity of the work and any descriptive or historical detail about the work that is disclosed verbally or printed in the catalogue or elsewhere. In good faith to the buyer, signed declarations by the seller warrant the following: (a) the seller is the owner of the item, or is properly authorized by the owner to sell the item. (b) The seller can and shall, in accordance with the conditions set upon him by Arthouse Contemporary, transfer possession to the buyer with good and marketable title to the item, free from any third party rights, claims or potential claims (including without limitation, by governments or governmental agencies). (c) The seller has provided Arthouse Contemporary in writing with all information concerning the item’s provenance and has notified Arthouse in writing of any concerns expressed by third parties concerning its ownership, condition, authenticity, attribution and export or import history. (d) The seller has paid or will pay all taxes and duties potentially due to her on the sale proceeds of the item.

3. (a) All statements by Arthouse Contemporary made orally or printed in the catalogue entries, the condition reports or elsewhere are statements of opinion and not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by us of any kind. (b) References to damage and restoration are for guidance only and absence to such references does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others

Before the Sale4. (a) A prospective buyer must complete and sign a bidder registration form and provide identification before he has the right to bid. Arthouse Contemporary may require the production of bank or other financial references. (b) A prospective, registered buyer can authorize a third-party to act as agent in the bidding process if the buyer is unable to attend the auction. This arrangement, if such is to occur, must be conveyed in writing to Arthouse Contemporary and approved by the same. (c) Arthouse Contemporary has the right, at its complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.

At the Sale5. When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges. This does not apply if the bidder is acting as agent on behalf of an identified third party acceptable to Arthouse Contemporary and this has been explicitly agreed in writing with Arthouse Contemporary before the commencement of the sale. In respect of this situation Arthouse Contemporary will only consider the principal liable for payment. Conditions in paragraph 4 apply to both the agent bidder and the principal for the bid to be valid.

6. Absentee bids are welcome and Arthouse Contemporary will carry out written bids for the convenience of clients who are not present at the auction in person, through the auctioneer or by way of representation through an agent. We reserve the right to not accept an absentee bid if it does not comply with any of the following conditions: (a) the bidder is registered or submits the bid with a completed bidder registration form; (b) the bid is made in the currency of the country where the auction is held and (c) the bid is received a minimum of 72 hours prior to the auction. Please refer to the absentee bid form on our website for clarifications. Bidders will receive a receipt of acknowledgement from Arthouse Contemporary, up to 1 working day after it is submitted and will further receive a confirmation that the bid is accepted with a date stamp, the purpose of which is to fairly execute the following circumstance:If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first.7. Reserve sale prices, indicated by the owner, are included for all lots unless otherwise indicated (by the symbol • next to the lot number). The reserve is the confidential minimum price for the lot. If bidding for a particular lot ends below the reserve, the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any lot below the reserve and may continue to bid on behalf of the seller up to, and strictly limited to, the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

8. The auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive.

9. Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer. The auctioneer will indicate that the highest bid has been accepted with a strike of his hammer (hereafter referred to as the ‘hammer price’). This same strike of the hammer symbolically and legally establishes the contract for sale between the seller and buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

After the Sale10. In addition to the hammer price, the buyer agrees to pay Arthouse Contemporary the buyer’s premium (this becomes the ‘purchase price’), together with any applicable value added tax (VAT), sales or compensating use tax or equivalent tax in the place of sale. The buyer’s premium is 10% of the hammer price. The VAT, subject to Nigerian law is 5% of the total purchase price.

11. Immediately following the sale, the buyer must confirm his or her name and permanent address and, if applicable, the details of the bank from which payment will be made. The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes) immediately after the sale. This applies even if the buyer wishes to export the lot and an export license is, or may be, required for the lot. The buyer will not acquire title to the lot until all amounts due to Arthouse Contemporary from the buyer have been received in good cleared funds even in circumstances where the lot has been released to the buyer.

12. Payment must be made to Arthouse Contemporary within a period of seven (7) days after the sale. This includes the time required to process checques or to receive wire transfers. Failure to meet this schedule may incur the buyer additional charges or actions, made at the discretion of Arthouse Contemporary. Possible charges or actions against late- or non-payment are elaborated upon in paragraph 16 below.

13. Arthouse shall be entitled to retain items sold until all amounts due have been received in full in good cleared funds or until the buyer has satisfied such other terms as we, in our sole discretion, shall require. Subject to this, the buyer shall have paid for and collected purchased lots within seven (7) calendar days from the date of sale, unless otherwise agreed upon.

14. Although Arthouse Contemporary shall use reasonable efforts to take care when handling, packing and shipping a purchased lot, we are not responsible for the acts or omissions of third parties whom we might retain for these purposes. Similarly, where we may suggest other handlers, packers or carriers if so requested, we do not accept responsibility or liability for their acts or omissions.

15. Unless otherwise agreed by Arthouse Contemporary in writing, the fact the buyer wishes to apply for an export license does not affect his or her obligation to make payment within seven days nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export license on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred

by the buyer in circumstances where an export license is required.

16. If the buyer fails to make payment in full in good cleared funds within the time required by paragraph 12 above, we shall be entitled in our absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available to us by law):

(a) to charge interest at such rate we shall reasonably decide;(b) to hold the defaulting buyer liable for the total amount due and to commence legal proceeding for its recovery together with interest, legal fees and cost to the fullest extent permitted under applicable law;(c) to cancel the sale(d) to resell the property publicly or privately on such terms as we shall think fit(e) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer;(f) to set off against any amounts which we may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;(g) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;(h) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;(i) to take such other action as we deem necessary or appropriate.

If Arthouse Contemporary resells the property under paragraph (d) above the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If Arthouse Contemporary pays any amount to the seller under paragraph (e) above, the buyer acknowledges that Arthouse Contemporary shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

17. Where purchases are not collected within seven calendar days from the date of sale, whether or not payment has been made, Arthouse Contemporary shall be permitted to remove the property to, an insured and managed third party warehouse at the buyer’s expense. Arthouse Contemporary is only liable to release the items after payment in full has been made of all the additional costs incurred, whether for removal, storage, handling, insurance and/or any other activity that warrants charges. This includes payment of all other amounts due to Arthouse Contemporary, in respect of the purchase price and any applicable taxes.

Limited Warranty18. Arthouse Contemporary agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 19 below. Apart from any of those circumstances, neither the seller nor Arthouse Contemporary, including any of its officers, employees or agents, are responsible for the correctness of any statement of any kind concerning any lot, whether written or oral. This includes any errors or omissions in description or for any faults or defects in any lot.

19. Subject to the terms and conditions of this paragraph Arthouse Contemporary warrants for a period of two years from the date of the sale that any property described in headings in UPPER CASE TYPE in this catalogue (as such description may be amended by any saleroom

Conditions of Sale


BIDDING FORM

SALE NumBERLA 1002

SALE TITLEMODERN AND CONTEMPORARY ART

SALE dATE22 NOVEMBER 2010

IMPORTANT

Please note that the execution of written and telephone bids is offered as an additional service for no extra change, and at the bidder’s risk. It is undertaken subject to ARTHOUSE CONTEMPORARY LIMITED’s other commitments at the time of the auction. ARTHOUSE CONTEMPORARY LIMITED therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Please note that we will contact new clients to request a bank reference.

Payments must be received from the registered bidder.

ARTHOUSE CONTEMPORARY LIMITED will require sight of government issued ID and proof of address prior to collection of purchases (do not send originals).

FOR WRITTEN/FIXED BIDS

• Bids will be executed for the lowest price as is permitted by other bids or reserves.

• “Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue.

• Alternative bids can be placed by using the word “or” between lot numbers.

• Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

"

TITLE (EG. MR, MRS, DR) OR COMPANY NAME IF APPLICABLE

FIRST NAME LAST NAME

ARTHOUSE CONTEMPORARY LIMITED CLIENT ACCOUNT NO. (IF KNOWN)

ADDRESS

POSTCODE

TELEPHONE (HOME) (BUSINESS)

EMAIL FAX

MOBILE NO VAT NO. (IF APPLICABLE)

PREFERRED MODE OF CONTACT c TELEPHONE (Please specify) c FAX c EMAIL

PLEASE TICK IF YOU WOULD LIKE TO BE INCLUDED ON OUR MAILINg LIST c

PLEASE WRITE CLEARLY AND PLACE YOUR BIDS AS EARLY AS POSSIBLE, AS IN THE EVENT OF IDENTICAL BIDS, THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE.BIDS SHOULD BE SUBMITTED NO LATER THAN 5 PM ON SATURDAY, 4 APRIL 2009.

LOT LOT mAXImum PRICENumBER dESCRIPTION (EXCLudING PREmIum ANd VAT)

₦

₦

₦

₦

₦

₦

₦

₦

₦

₦

PLEASE mAIL OR FAX TO:

Arthouse Contemporary LimitedThe Penthouse FloorForeshore Towers2A Osborne RoadP.O. Box 52262 (Tel) +2341 774-0909Ikoyi, Lagos (eFax) +44870 199-2487 Nigeria (Email) [email protected]

I agree to be bound by ARTHOuSE CONTEmPORARY LImITEd “Conditions of Sale” as published in the catalogue and on the website which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes.

I consent to the use of this information and any other information obtained by ARTHOUSE CONTEMPORARY LIMITED in accordance with the guide for Absentee Bidders and Conditions of Sale. If you would like further information on ARTHOUSE CONTEMPORARY LIMITED policies on personal data, or to make corrections to your information, please contact us on +2341 774-0909.

I am aware that all telephone bid lines may be recorded.

Signed dated

INVOICE IF YOU ARE SUCCESSFUL AND WOULD LIKE YOUR INVOICE SENT TO THE ABOVE EMAIL OR FAX, PLEASE TICK BOX c, A COPY WILL FOLLOW BY POST.

SHIPPING IF YOU ARE SUCCESSFUL AND WOULD LIKE US TO CONTACT YOU REgARDINg SHIPPINg, PLEASE TICK HERE c

notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property. Arthouse Contemporary only warrants lots in this catalogue with headings of UPPER CASE TYPE. Arthouse Contemporary’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot. Arthouse Contemporary is also neither responsible for omission or errors of such information below the heading. The warranty does not apply to any heading, which is stated to represent a qualified opinion (for example, in cases where the seller of a lot is the author of that lot). The warranty is subject to the following:(a) It does not apply where the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions. (b) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Arthouse Contemporary. (c) The buyer’s sole and exclusive remedy against Arthouse Contemporary and the seller is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Arthouse Contemporary nor the seller will be liable for any special, incidental or consequential damages, including,

without limitation, loss of profits nor of interest. (d) The buyer must give written notice of claim to us within two years from the date of the auction. The buyer is required to obtain the written opinions of two recognised experts in the field, mutually acceptable to Arthouse Contemporary and the buyer, before Arthouse Contemporary decides whether or not to cancel the sale under the warranty. (e) The buyer must return the lot to Arthouse Contemporary in the same condition as at the time of the sale.

Other Conditions20. (a) The copyright in all images, illustrations and written material produced by or for Arthouse Contemporary relating to a lot is and shall remain at all times the property of Arthouse Contemporary and shall not be used by anyone without our prior written consent. (b) Arthouse Contemporary and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

21. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.


gUIDE FOR ABSENTEE BIDDERS

If you are unable to attend an auction in person, you may give ARTHOUSE Contemporary Limited’s Bid Department instruc-tions to bid on your behalf by completing the form overleaf.

This service is free and confidential.

Please record accurately the lot numbers, descriptions and the top hammer price you are wiling to pay for each lot.

We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate.

“Buy” or unlimited bids will not be accepted.

Alternative bids can be placed by using the word “OR” between lot numbers.

Bids must be placed in the same order as in the catalogue.

This form should be used for one sale only – please indicate the sale number, title and date on the form.

Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wher-ever possible bids should be submitted at least seventy-two hours before the auction.

Where appropriate, your bids will be rounded down to the near-est amount consistent with the auctioneer’s bidding increments.

Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44870 199-2487

Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Arthouse Contemporary’s other commitments at the time of the auction; Arthouse Contemporary’s therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Successful bidders will receive an invoice detailing their pur-chases and giving instructions for payment and clearance of goods. Unsuccessful bidders will be advised.

Successful buyers of large objects are earnestly requested to arrange early collection of their goods as they will incur storage charges after 7 days.

Bidders on large objects are recommended to check on the afternoon of the auction whether they have been successful.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Arthouse Contem-porary Limited’s offices or by telephoning +2341 774-0909. Conditions of Sale particularly relevant to buyers are also set out in the sale catalogue.

It is Arthouse Contemporary Limited’s policy to request any new clients or purchasers preferring to make a cash payment to provide: proof of identity (by providing some form of govern-ment issued identification containing a photograph, such as a passport, identity card or driver’s licence) and confirmation of permanent address.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our busi-ness and the marketing and supply of Arthouse Contemporary Limited’s services, or as required by law, we may ask clients to provide personal information about themselves or obtain infor-mation about clients from third parties. If clients provide Arthouse Contemporary Limited with information that is defined by law as “sensitive”, they agree that Arthouse Contemporary Limited may use it for the above purposes. Arthouse Contem-porary Limited will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on Arthouse Contemporary Lim-ited’s policies on personal data, or to make corrections to your information, please contact us on +2341 774-0909.

In order to fulfil the services clients have requested, Arthouse Contemporary Limited may disclose information to third parties (e.g. shippers). It is Arthouse Contemporary Limited’s policy to require that any such third parties respect the privacy and con-fidentiality of our clients’ information and provide the same level of protection as Arthouse Contemporary Limited. By signing this Absentee Bid Form you agree to such disclosure. Clients will please note that for security purposes, Arthouse Contempo-rary Limited’s premises are subject to video recording. Tele-phone calls may also be recorded.

A. Akande 77

Abayomi Barber 39, 40

Abiodun Olaku 20

Ablade glover 26

Akinola lasekan 76

Alex Nwokolo 1

Amon Kotei 51

Amos Okosun Odion 78

Andareg Achwaschenev 46

Ashiru Olatunde 79

Ato Delaquis 27

Ben Enwonwu 43, 44, 80, 81

Ben Osaghae 58, 87

Ben Osawe 38, 83, 114

Bisi Fabunmi 85

Bisi Fakeye 37

Bruce Onobrakpeya 11, 12, 115

Chidi Kwubiri 118, 30

Chinwe Uwatse 88

Chuks Anyanwu 18

David Dale 13, 22, 105

Dele Jegede 59

Demas Nwoko 56, 57

Diseye Tantua 96

Duke Asidere 8, 97

Edmund Tetteh 48, 49

Edosa Ogiugo 98

El Anatsui 28

Emeka Udemba 10

Epeile Anthea 36

Erabhor Emokpae 82

Felix Osieme 64

Fidelis Odogwu 72, 101

Francis Uduh 6A, 6B

Gani Odutokun 60, 61

gbenga Orimoloye 63

Geoffrey Mukasa 52, 53

george Hughes 54

George Osodi 94, 95

Gerald Chukwuma 34

Idowu Otun 67

J.D Ojeikere 90, 91

Jimoh Buraimoh 106, 107

Joe Amenechi 73

Kainebi Osahenye 75

Kehinde Sanwo 3

Kelani Abass 9, 89

Kelechi Amadi Obi 93

Kenny Adewuyi 15

Kofi Agorsor 5

Kolade Oshinowo 21, 84

Kunle Adegborioye 99

Matt Ehizele 14

Mavua Lessor 50

Monday Akhidwe 9, 102

Muraina Oyelami 111, 112

Nike Okundaye 69

Nnenna Okore 35

Okpu Eze 41, 42

Ola Balogun 2

Olisa Nwandiogbu 24

Oliver Enwonwu 16

Olu Ajayi 3

Olu Amoda 71

Olumide Ore Segun 74

Onyeama 4

Oyerinde Olotu 116

Peju Alatise 7, 72

Rahman Akar 32

Richardson Ovbiebo 31

Rom Isichei 29, 70

Rufus Ogundele 108, 109, 110

Sam Ovraiti 19

Simon Okeke 65

Sina Yussuff 62

Sokari Douglas-Camp 104

Solomon Wangboje 25

Soly Cisse 55

Sussan Omagu 117

Susan Wenger 47

Tayo Adenaike 66

Tayo Quaye 23, 103

Tola Wewe 68

Tony Enebeli 45

Toyin Alade 17

Twins Seven-Seven 113

Uche Edochie 33

Uche Okeke 86

Wiz Kudowor 100

Index Lot Index Lot

Artist


All images and content © 2008-2010, ArtHouse Contemporary Ltd. Lagos, Nigeria

Design and Printing by Spenta Multimedia, Mumbai, India.

Photography by george Osodi

Written Contributions from:

Dr. Chika Okeke-Agulu, Assistant Professor, Princeton University (CO)

Ms. Everlyn Nicodermus, PhD Student in Modern African Art (EN)

ArtHouse Contemporary Ltd.

All Enquiries: +234 1 774 0909

[email protected]

www.arthouse-ng.com

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