Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994) Anyanwu
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)
Anyanwu
signed and dated 'BEN ENWONWU 58' (front lower centre of figure)
gilt bronze
219 x 77 x 30cm (86 1/4 x 30 5/16 x 11 13/16in).
(excluding base)
Footnotes:
Provenance
Acquired directly from the artist's family;
A private Nigerian collection.
In the present work's debut to auction, this rendition of Anyanwu stands as one of the most culturally significant works produced by the great Nigerian modernist Ben Enwonwu. Other large scale versions of Anyanwu such as the present lot are held in the collections of National Museum of Lagos (commissioned by Kenneth Murray), The United Nations, and the National Museum of Zimbabwe in Harare.
The superficial and esoteric meaning of the title work 'Anyanwu' are differentiated by Mcphilips Nwachukwu. From a global observation 'Anyanwu' is understood as a reflection of the 'history and political transformation' while esoterically, this theme utilised by Enwonwu expresses divinity and spirituality as expressed by the artist himself:
'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood - woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation - a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting - these qualities are characteristic of the sculpture of my ancestors.'(B. Enwonwu, 1957).
The pronounced curvature of the figure's lower body accords the statue's sense of distilled movement, her elongated form and distinct lines emphasise her measured poise and deliberate elegance. Regal in gold, scale, and elegance, the grandeur of the present work reflects the essence Enwonwu strove to emulate. These tropes of the elongated female form are not uncommon to Enwonwu's practice. Furthermore, Enwonwu's focus on womanhood as a central theme has maintained significant and central importance throughout the artists oeuvre. Indeed, the artist's words clearly express his belief that 'Anyanwu' was a visual manifestation of the new Nigeria, culturally-confident and proud of her heritage and history. It was fitting that in 1966, five years after Nigeria gained its independence from the United Kingdom in October 1960, that another version of Anyanwu was presented at the United Nations Headquarters in New York.
In reference to the date of the work's completion, two years before Nigerian independence from colonial rule, 1958 was a pivotal year for the trajectory of the artists career and also that of Nigerian Modernism, as it also the year that the Zaria art society was formed. Whilst Enwonwu himself was not included in the formation of the society, this only contributes to the sense of national hope and pride that was evidently present in the social, cultural, and political landscape. Moreover, this work was created at a personally pivotal time for Ben Enwonwu following his commission to complete a statue of HM Queen Elizabeth II a year prior to the creation of the present work, Anyanwu.
Bibliography
O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), pp.48-49.
S. Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp. 125-130.
Mcphilips Nwachukwu, 'Book Review' Vanguard (Lagos), (Vanguard website: February 26, 2004).
This lot is subject to the following lot symbols: * W
* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.
For further information on this lot please visit Bonhams.com
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)
Anyanwu
signed and dated 'BEN ENWONWU 58' (front lower centre of figure)
gilt bronze
219 x 77 x 30cm (86 1/4 x 30 5/16 x 11 13/16in).
(excluding base)
Footnotes:
Provenance
Acquired directly from the artist's family;
A private Nigerian collection.
In the present work's debut to auction, this rendition of Anyanwu stands as one of the most culturally significant works produced by the great Nigerian modernist Ben Enwonwu. Other large scale versions of Anyanwu such as the present lot are held in the collections of National Museum of Lagos (commissioned by Kenneth Murray), The United Nations, and the National Museum of Zimbabwe in Harare.
The superficial and esoteric meaning of the title work 'Anyanwu' are differentiated by Mcphilips Nwachukwu. From a global observation 'Anyanwu' is understood as a reflection of the 'history and political transformation' while esoterically, this theme utilised by Enwonwu expresses divinity and spirituality as expressed by the artist himself:
'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood - woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation - a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting - these qualities are characteristic of the sculpture of my ancestors.'(B. Enwonwu, 1957).
The pronounced curvature of the figure's lower body accords the statue's sense of distilled movement, her elongated form and distinct lines emphasise her measured poise and deliberate elegance. Regal in gold, scale, and elegance, the grandeur of the present work reflects the essence Enwonwu strove to emulate. These tropes of the elongated female form are not uncommon to Enwonwu's practice. Furthermore, Enwonwu's focus on womanhood as a central theme has maintained significant and central importance throughout the artists oeuvre. Indeed, the artist's words clearly express his belief that 'Anyanwu' was a visual manifestation of the new Nigeria, culturally-confident and proud of her heritage and history. It was fitting that in 1966, five years after Nigeria gained its independence from the United Kingdom in October 1960, that another version of Anyanwu was presented at the United Nations Headquarters in New York.
In reference to the date of the work's completion, two years before Nigerian independence from colonial rule, 1958 was a pivotal year for the trajectory of the artists career and also that of Nigerian Modernism, as it also the year that the Zaria art society was formed. Whilst Enwonwu himself was not included in the formation of the society, this only contributes to the sense of national hope and pride that was evidently present in the social, cultural, and political landscape. Moreover, this work was created at a personally pivotal time for Ben Enwonwu following his commission to complete a statue of HM Queen Elizabeth II a year prior to the creation of the present work, Anyanwu.
Bibliography
O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), pp.48-49.
S. Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp. 125-130.
Mcphilips Nwachukwu, 'Book Review' Vanguard (Lagos), (Vanguard website: February 26, 2004).
This lot is subject to the following lot symbols: * W
* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.
For further information on this lot please visit Bonhams.com
