AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU
AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU
AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU
AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU
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AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU

Estimate: 12,000 - 18,000 GBP

AKINOLA LASEKAN | PORTRAIT OF CHIEF J.D. AKEREDOLU

Estimate: 12,000 - 18,000 GBP

Lots begin closing in:
16:22:19
Current Bid:11,000GBP
(3 bids, reserve met)

Lot Details

Description

AKINOLA LASEKAN

Nigerian

1916-1974

PORTRAIT OF CHIEF J.D. AKEREDOLU


signed and dated 1957 (lower right)

oil on board

147 by 106cm., 57¾ by 41¾in.


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Please note that consumer cancellation rights do not apply to this lot.

Condition Report

The canvas is stable and unlined. There is separation in the areas of darker pigment, mainly to the horses's bodies (ref images). Slightly uneven varnish. Stretcher marks are visible to the left hand and central vertical bars, and there is a large dent to the canvas to the lower half of the left framing edge that may be corrected through restretching. 


The work is otherwise in good condition. Examination under ultra-violet light reveals no obvious repairs or retouching. 


Further Enquiries:

Please telephone the department on +44 (0) 207 293 6323 or email africanctp@sothebys.com if you have any questions regarding the present work.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.  

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE INCLUDED IN THE CATALOGUE.

Cataloguing

Provenance

Private Collection, Lagos

Exhibited

Lagos, Nigerian Council for the Advancement of Art and Culture, Nigerian Art Exhibition, 1-22 October 1960

Literature

C. Okeke-Agulu, Postcolonial Modernism, p.145, illustrated on p.119

Catalogue Note

This portrait tells the story of two of the most important Nigerian artists of the pre-independence era, Chiefs Akinola Lasekan (1916-72) and Justus D. Akeredolu (1915-84). Both men were born in Owo, in Ondo State, and set up a studio together in Lagos in 1940. In 1945, they travelled to London to exhibit and further their studies; in the years leading to independence, both artists were looking to master their respective media (portrait painting and thorn carving) to represent the Yoruba people as proud, intelligent and independent, unlike the stereotypes fashioned by their colonizers.


Works by both artists were collected and exhibited by the Harmon Foundation in the United States in 1958-59, and both exhibited at the Nigerian Independence Exhibition in 1960, where the present lot was also shown. One of Lasekan’s best-known paintings, this depiction of his friend and highly-respected contemporary is a superlative example of his 1950s portraits, clearly demonstrating the influence of his early training in textiles in the attention he pays to the detail of his sitter’s woven and embroidered chiefly attire called Agbada, adorned with a ‘Fila’ (hat) and coral beads. The ensemble is made from Aso Oke, specifically sanyan a distinctive material with crimson hues reserved for chiefs during their presentation by peers to a King or for attending court.

Modern and Contemporary African Art Online
ONLINE BIDDING CLOSES:31 Mar 2020 | 01:00 PM GMT