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103

Alexander Skunder Boghossian

Untitled (Scrolls)

Property from the Collection of Mr. & Mrs. Quincy Troupe

Alexander Skunder Boghossian

Alexander Skunder Boghossian

Untitled (Scrolls)

Untitled (Scrolls)

Alexander Skunder Boghossian

1937-2003

Ethiopian

Untitled (6 Scrolls)


oil on hand made paper, cloth and burlap

I: 783.6 by 12.7cm., 308 ½ by 5in.; signed and dated 1987

II: 477.5 by 12.7cm., 188 by 5in.

III: 472.5 by 12.7cm., 186 by 5in.

IV: 431.8 by 12.7cm., 170 by 5in. 

V: 355.6 by 12.7cm., 140 by 5in.

VI: 323.2 by 12.7cm., 127¼ by 5in.; signed and dated 1987


(6)

Please note that these scrolls are rolled. They remain rolled without any assistance. There are light old folding lines present in all the scrolls, likely from a previous fold. Scattered creases/wrinkling throughout the scrolls due to having been rolled. The scrolls showcase areas of flaking/light surface loss or lifting of the material due to being rolled. This is in line with the natural of the materials used. Fraying of the burlap in places. Pinholes to the top and tail of the scroll, indicating where the work was once hung. The works are stable and in good original condition. 


Please note that Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.


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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Acquired directly from the artist by the present owner in c.1990s

The ‘magical scrolls’──the magnificent paintings that were made by Ethiopian debteras, a form of knowledge that Skunder believed was excluded from the disciplines of modernist thought──whose purpose is to fend off evil became Skunder’s examination of time through which knowledge gleaned from the historical past witnessed the temporal perceptions of the present. Debteras are particularly well known for their amulets in which a scroll of illuminated parchment that includes Christian and non-Christian symbols and texts──names of angels followed by symbols of evil spirits which seduce humans to sin──are scribed. People who are inflicted with illness wear these amulets around their neck to be treated from their maladies, and in some cases to protect themselves from bad spirits. In cases where the amulets are not needed, the patient looks fixedly at the scroll and enters a healing trance.


For many believers in the Orthodox Church, icons of the Church are generally worshiped as instruments of miraculous intervention and as a link between the human and the divine. But for the debteras who are trained in the traditions of the Orthodox Church and who are learned church scholars who complete the same studies as priests, equally important are non-Christian practices such as astrology, scribe and fortune telling that can invoke Satan to do good or evil. It is this unique blend of the debtera religious practice that fascinated Skunder and the source of his luminous scrolls.


Certainly the scrolls completely absorbed Skunder Boghossian until the end of his life. As Solomon Deressa had said, the scrolls proved to Skunder that “surrealism is not a one-time European invention but an innate human urge, to delve into the unconscious with or without Freud and Jung. And he painted it all, not as a recapitulating explorer might, but as a native son enthralled by the poetic power of the vision of ancestors who can only be honoured by being subsumed.” Clearly one can relate most of Skunder’s form and style to the free play characteristic of the Surrealist Movement and of this movement that he is frequently related. However, while Skunder was interested in the Surrealists’ fixation of objects that were created or discovered by the unconscious, he was also engrossed in the objects’ political potentials.


The art of Skunder Boghossian has left a quintessential mark on African modernism. His vigorous imagery presents an absorbing and critical account of the political culture of the colonial and post-colonial eras. By positing a historical continuity of ‘Africanness’ that spreads from early civilisations of Africa to the Ethiopian Orthodox Church and its multiple expressions, he imaginatively combined two significant themes; a traditional approach of culture and its complex tie with the historical development of European art.