§ Dame Elisabeth Frink (British 1930-1993) Fallen Man, 1960 1/6, signed and numbered, bronze with dark brown patina(16cm high, 60cm long (6.25in high, 23.6in long))Provenance: Private Collection, London.Footnote: Literature: Ratuszniak, A. (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.71, cat. no. FCR79 (another cast illustrated). 'The very fact of someone falling in space makes me feel nervous. I very often dream of falling through space myself. It becomes a nightmare and is very frightening. So it is always with me, this particular fear, which I think is a good thing because it starts off sculpture; it gives a sense of urgency which is important to me.’ (Elisabeth Frink quoted by Huw Wheldon, Monitor: An Anthology, Macdonald, London, 1962. p. 28.) Elisabeth Frink’s Fallen Man is part of a highly-important theme in her practice, in which her childhood experience of World War Two, fascination with the nude male figure and existential concerns about mankind are brought together. Frink was nine years old when war was declared. Her father was a cavalry officer in the British Army and served abroad for most of the conflict. Much has been made of Frink’s time in Suffolk near to Bomber Command air-bases during this period. As she explained: ‘there was a whole bunch of very jolly Polish airmen. They’d go off in their flying machines – and sometimes they got killed. We were right next door to an operational aerodrome and sometimes we’d see the planes coming home on fire.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsbury, London, 1994, p.15). Many works of the early 1960s explored the themes of men in flight, men in space, spinning, falling and fallen men and eventually bird men, through which Frink explored the concept of men at war. Reviewing them later in her career, Frink declared: 'These sculptures were the nearest I got at that time to subjective ideas of the concept of a man involved in some kind of activity other than just being. So my earlier figures were not at all sensuous; they were too much involved with fractured wings or the debris of war and heroics. By this last phrase I mean individual courage.’ (as quoted in Ratuszniak, A. (ed.), op.cit., p. 72). In Fallen Man, the anonymous figure is depicted without stand or plinth. The point of direct contact between the work and the surface on which it is placed is key to conveying its concept. Facial features are suggested in the outsized head, atop the splayed and disfigured body. A sense of trauma, pathos and vulnerability is enhanced by the rough handling of the plaster from which it was cast. Edward Mullins has written about further sources of inspiration for this area of exploration: ‘The original impulse, in fact, was to make sculpture of a figure falling from space. The source here is dual. Since a child she has experienced dreams of herself falling and the sensation remains a powerful one in her imagination. More specifically, during the late 50’s she came across photographs of the French bird-man, Valentin, depicting him before he jumped (eventually he jumped to his death) helmeted and goggled and decked out in his special flying-suit with voluminous wings. This is the principal visual source of the various Bird-Men.’ (Edward Mullions, ‘Introduction’, The Art of Elisabeth Frink, Lund Humphries, London, 1972, unpaginated). Frink’s work defies precise interpretation. She declared: ‘what I’m doing is trying to set up a kind of encounter with the spectator, a dialogue between my sculptures and the public. People have to add part of themselves to make it work; they have to look into it as well as at it.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, op.cit., p. 64).
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§ Lynn Chadwick C.B.E. R.A. (British 1914-2003) Maquette for Stranger, 1961 6/6, model 340, signed and numbered, bronze with green / brown patina(31.5cm high, 26.3cm wide (12.3in high, 10.3in wide))Provenance: Sotheby's, New York, 1 July 1991, Lot 125; Private Collection, London.Footnote: Literature: Bowness, A., Lynn Chadwick, Methuen, London, 1962, unpaginated (another cast illustrated); Farr, D. and É. Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.192, no.340 (another cast illustrated). The subject of the ‘Stranger’ occupied Chadwick over the period from 1954 until 1969, in a formal theme which also informed the contemporary ‘Winged Figure’ works. As Alan Bowness explained in his 1962 monograph about the artist, the stimulus was Chadwick’s controversial commission from the Air League of the British Empire in 1957, to create a memorial to the 1919 double crossing of the Atlantic by the airship R34. Having served as a pilot in the Fleet Air Arm of the Royal Navy during World War Two, Chadwick had a deeply personal experience of flight and link to the concept of a winged figure, itself embedded in the myth of Icarus. In Maquette for Stranger, the power of the anonymous figure’s torso and spread-out winged arms is contradicted by its tapering, spindly legs. It has a monumentality and stillness which yet suggests strength in movement. As Bowness continued ‘the Strangers and Watchers seem to be tensed: waiting, aware that something is going to happen…the tensions arise directly from the sculptor’s treatment of surface. His technique leads him to build an armature, constructed from straight rods, and this becomes the skin as well as the bone of the figure. Everything is thus brought on to the surface, and the network of rigid lines and absence of curves is somehow expressive of a high pitch of nervous intensity, possessed by these strange immobile creatures.’ (Bowness, op.cit., unpaginated). Such was the significance of Maquette for Stranger that a cast of it was selected by the British Council for inclusion in the VI Bienal de São Paulo of 1961, shortly after its creation. Herbert Read wrote about the sculptor’s contribution to the British presentation: ‘Lynn Chadwick’s vision has penetrated a psychic region where man is a tensed geometrical aeronaut, watching the skies, wings folded or outspread for flight. Such is the new image of man, the archetype of a space age.’ (Herbert Read, ‘Lynn Chadwick’, VI Bienal de São Paulo, exh.cat., 1961 quoted in Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, 2014, p. 115). Chadwick was declared hors concours, or ‘beyond competition’ at the biennial, the first time a British artist had been thus honoured.
§ William Turnbull (British 1922-2012) Figure, 1984 4/6, monogrammed, numbered and dated, bronze(78.5cm high, 16cm wide, 15cm deep (31in high, 6.25in wide, 6in deep))Footnote: Literature: Davidson, Amanda A., The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, cat. no. 228, illustrated p.164 (another cast illustrated). Exhibited: London, Waddington Galleries, William Turnbull, 1998, cat. no. 9 (another cast). In its suggestion of the human figure in the simplest possible form, Figure of 1984 simultaneously references some of Turnbull’s works of the late 1940s and early 1950s whilst linking to further exploration of the theme in sculptures such as Figure 2 and Small Female Figure of the early 1990s. Indeed, Turnbull returned to the human form throughout his long and distinguished career, through materials including plaster, bronze and steel (sometimes painted), with degrees of representation and abstraction ebbing and flowing over the decades. In this work, an elongated torso is extended to incorporate legs and neck, from which open, curved arms protrude. The sculptor’s touch is clear in pronounced modelling throughout, with suggested facial features on a head-like form. Although at first glance a work based on a frontal view, the viewer cannot comprehend the full scope of its three dimensions without moving around it, to see the extent of the arms’ reach and the rhythm, open-ness and implied welcome of their stance. The work’s various profiles are as important as its physical form. Figure illustrates Patrick Elliott’s summation of Turnbull’s practice, namely that ‘his work invariably combined formal simplicity with surface complexity along with poise and balance: these remained the principal characteristics of his entire oeuvre.’ (Patrick Elliott, ‘Turnbull, William [Bill] (1922-2012)’, Oxford Dictionary of National Biography, on-line version of 1 January 2017, accessed 25 March 2022). Turnbull combined ambiguity with open-ended intention in much of his work, by which he hoped to stimulate multiple references, ideas and connections when it was experienced. As Amanda A. Davidson concluded in her 2005 catalogue raisonné of Turnbull’s sculpture ‘the conversation between the artist and their materials inevitably comes to an end when the process of making the work is completed. However, the conversation between the viewers and the work never ceases.’ (Amanda A. Davidson, op.cit., p. 74).
§ Sir Jacob Epstein K.B.E. (British 1880-1959) First Portait of Kitty (with Curls), conceived 1944 Bronze with brown patina(37cm high (14.5in high) (excluding base))Provenance: The Estate of Dr Renate Davis; Private Collection, UK.Footnote: Literature: Silber, Evelyn, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.195, cat. no. 356 (plaster cast illustrated). Once established in his career, Jacob Epstein was frequently commissioned to create portrait busts. Subsequently, they represent a significant proportion of his output. According to biographer June Rose he would first meticulously study his subject from all angles, “noting the shape of the skull, the relation of the features to each other and to the whole, and the dissimilarity between the two sides of the face.” He had a tremendous aptitude for conveying an accurate mental as well as physiological likeness. Since his more experimental beginnings, Epstein had been regarded as a member of the avant-garde and, as such, opposed to the strictures placed upon art practise by the traditional institutions. This cemented his popularity among more liberal patrons. One such client was Ellen Jansen, a poet and member of a bohemian American set, who commissioned the bust of herself in 1931. She married the theatrical producer Maurice Browne, a founder of the Chicago branch of the Little Theatre. This constituted a movement which, in reaction to the increasing popularity of cinema, aimed to produce a more intimate “reform-minded” theatrical experience. Epstein counters her sharp ‘Louise Brooks’ bob with a serene smile. This remains one of the few busts he created where his sitter displays anything other than a rather enigmatic, reflective expression. Epstein also depicted his family on several occasions. This bust of his daughter Kitty (with curls) was conceived in 1944 and was the first of three he created in her likeness. She was the daughter of his long-term mistress and latterly second wife Kathleen Garman who, famously, was shot in the shoulder with a pearl-handled pistol by his first wife Margaret. Kitty herself went on to become the artist Lucien Freud’s first wife, and was the muse behind several of his seminal early works such as ‘Girl with Kitten’ and ‘Girl with a White Dog’.
COLIN PEARSON (1923-2007); a porcelain winged bowl covered in bronze glaze, impressed mark, diameter 12cm. (D) Provenance: Alan & Pat Firth collection; purchased from Godfrey & Watt, Harrogate, 1994.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
HUGH SCOTT (born 1949); a stoneware twin handled bowl covered in polychrome glazes with bronze rim, painted HS mark and label, diameter 23cm (including handles). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
LUCIE RIE (1902-1995); a stoneware bud vase covered in thick bronze glaze, impressed LR mark, height 11cm. (D) Provenance: Purchased from Oxford Ceramics Gallery, 2008. Originally owned by Rie's hairdresser.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
PAUL BRADLEY; a pair of stoneware mugs covered in white glaze with bronze rims, impressed marks, height 9.5cm, and a teapot with cane handle by Melanie Brown, impressed M mark (3). (D)Additional InformationStable hairline to one mug extending 6cm from rim, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ROBIN WELCH (1936-2019); a stoneware cylindrical vessel covered in white glaze with bronze rim and black and white decoration, impressed RW mark, height 20.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ROBIN WELCH (1936-2019); a stoneware cylindrical vessel with bands of lilac, blue and bronze glaze, impressed RW mark, height 15cm. (D)Additional InformationAppears good with noobvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ROBIN WELCH (1936-2019); a stoneware cylindrical vessel with bands of white, salmon pink and bronze glaze with mottled dark pink square decoration, impressed RW mark, height 13.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
SIMON RICH (born 1949); a porcelain vase covered in crystalline glaze, impressed SR mark, height 16cm, and a small stoneware bowl covered in turquoise glaze with bronze rim and well, diameter 13.5cm (2). (D)Additional InformationChip to bowl foot ring, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
BRIDGET DRAKEFORD (born 1946); a porcelain pedestal bowl with bands of geometric decoration and bronze rim, incised signature, diameter 16.5cm, and a pair of Christine Cox porcelain beakers, height 9.5cm (3). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
COLIN PEARSON (1923-2007); a large stoneware winged form covered in bronze glaze, impressed mark, height 32.5cm, width 37.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A large Chinese canton enamel bowl, mid 20th century, painted throughout with panels of figures within yunwen borders and interspersed with fans, vases, flowers and insects, beneath a border painted with bats, cash, birds, insects and flowers on a gilt ground, the footrim with yunwen, on a wood stand, 40.5cm dia, 16.3cm high, on a wood stand; and a Chinese bronze censer, with dragons head handle above cast pointed arch panels, 15.3cm highQty: 2The bowl has a small rim chip with attempted repair and a further rim chip.
A Chinese Chaozhou giltwood panel, 20th century carved with a deity on a mule, an attendant standing at his side offering a peach, 17cm x 30cm; a pair of Chinese carved bamboo brush pots (Bitong), early 20th century, each carved with the seven scholars of the bamboo grove, and verso with four figures conversing, 19.5cm; a pair of early 20th century table lamp bases, carved as Shou Lao, hold ng his gnarled staff and a peach, a crane at his feet, 42cm & 42.5cm; and a cast bronze temple bell supported by carved wood figures, each holding a beater, the bell support with inlaid metal wire decoration, 53cmThe Chaozhou panel has some cracks and small losses. One bitong has cracks, one of which has a repair
A collection of Chinese coins, Warring States - Song Dynasty, to include a knife and spade example, approximately 81 coins, mixed dates and grades, a taotie applique, a split seal with temple lion mount, three pendant seals and two bronze figures of AvalokitesvaraCoins are not pristine but the majority are decipherable. Signs of wear and tear commensurate with age.
A Louis XV style marble topped Kingwood and Vernis Martin single door commode, 20th century, decorated with panels painted with "Watteauesque" lovers in landscapes signed V. Freydier With gilt bronze mounts. 97 cm overall width x 46 cm overall depth x 100 cm overall height. Old estateFor reference see a similarly decorated vitrine by the same handhttps://www.invaluable.com/auction-lot/louis-xv-style-ormolu-mounted-and-vernis-martin-714-c-9388cfd380Old shrinkage cracks to the panels
A Louis XVI style marble-topped gilt bronze and mahogany circular gueridon, late 19th century, with swags and faux tassels, the three trellis form supports pierced with harebells united by an under tier bearing the engraved legend Robert FW Sculpt it " (?) Supported on "peids de biche" legsPrivate estateThe wooden body has some cracks to the ground and the veneer is missing some strip through shrinkage.I can not see any missing mountsSee images for clarification.
A French Louis XV style rococo marquetry and Kingwood bureau plat of inverted breakfront form, late 19th century. The top with an inset tooled leather writing surface above three shaped frieze and flanking drawers, fitted with heavy cast and gilt bronze mounts throughout. Supported by shaped cabriole legs. 150 cm long x 87 cm wide x 75 cm overall height, 60 cm knee heightPrivate estateSome slight losses to the marquetry detail
A French kingwood and gilt metal mounted quatreform jardiniere, 19th century, with Paris porcelain plaque painted with a cherub, 31cm; and a pair of 19th century bronze garniture urns, with classical figural decoration, on polished black slate bases, 26.3cmThe jardiniear has no liner and some very slight gaps between the panels due to shrinkage but is structurally goo, the porcelain panel is ok but needs re-positioning in its frame.
Joseph Emmanuel Zwiener (1849-c.1900), a late 19th-century French kidney shaped rosewood, Kingwood and tulipwood work table, the hinged top with marquetry musical trophy motif, opening to reveal a simple fitted interior above a trellis parquetry decorated frieze with ormolu mounts throughout, On shaped slender cabriole, supports united by a decorative undertier. Stamped E (?) Zwiener twice to the underside of the carcase.Private estateJoseph-Emmanuel Zwiener was born in Germany in 1849. In 1880 he set up his extensive workshops in rue de la Roquette in Paris where he created many original pieces of furniture. He was awarded the gold medal at the 1882 exhibition of the Union Centrale des Arts Décoratifs in Paris. Zwiener had most of his bronze mounts modelled and cast by Léon Messagé (1842-1901) who was considered amongst the best manufacturers of ormolu embellishments.In 1895, Jean-Henri Jansen (1854-1928) purchased Zwiener's business and stock. Operating under the name of “Zwiener Jansen Successeur”.No apparent damageKey is present
A fine and unusual fire gilt cast bronze circular centre table, 19th century probably by Elkington & Co, in the renaissance style with moulded sunken top fitted with an inset glass liner. The figural base is mounted with an infant Jupiter, Dionysus, Poseidon and Ganymede on a Neoclassical moulded spreading disk base. 45 cm diameter x 63 cm overall height.The glass top is a later additionThe table is sectional and held in place with an internal rod fixed by a later(?) nutThe border or the top is polished back to bronze (Brassy look)Please follow the link below further downloadable Hi-Res images of details of this lothttps://drive.google.com/drive/folders/1kNxA4Q8WjUE1l94A5K9sOGr4lE1ebzrR?usp=sharing
A pair of large French 19th century figural bronze candelabras, in the form of cherubs on a column pedestal plinth, (currently in loose parts), the bases c.58 cm high. Please note this item is in pieces, as per the photos, and will required restoration / re-assembly. All pieces may not be present
Pierre Le Faguays (1892 - 1962), Dancer with Thyrsus, circa 1930, cold painted and silvered bronze, signed on the marble 'Le Faguays' & 'Etling, Paris', 27cmA private Bedfordshire collectorSilvering partially rubbed throughout. Tiny chips on one rear corner, small nibbles to the marble around the base, small shallow chip to the marble by dancers foot. Otherwise no visible faults.
A 19th century French bronze, modelled as a seated Roman Emperor, holding a scroll and resting his arm on his helmet, his foot upon a fallen Aquila and quiver of arrows, a further upturned Aquila behind, seated on a gilt metal plinth in turn on a rectangular base with four ball feet, 49cm high, 45cm wideAn object vacant from his left hand, a further object likely missing from the cape at the rear. Gildng tarnished. The interior of the gilt plinth has circular holes to the front and rear, giving an indication that this could have been primarily a clock case but left as is.
![After Jean-Antoine Houdon (1741-1828), 'Le Baiser Donné' (The Kiss Bestowed], a 19th-century patinated bronze figure group, o](https://cdn.globalauctionplatform.com/a43208c3-55cd-4951-b23f-ae7100ea7a70/b41bdfda-83aa-43b8-9789-ae7e015f1e7a/468x382.jpg)
Attributed to Roland Paris (1894 - 1945), a cold painted bronze and ivory figure, circa 1930, modelled as a seated jester representing wisdom, gazing at an owl upon his knee, with silver desk calendar, with marcasie floral decoration against a black enamel ground, import marks for Stockwell & Co, London 1930, on a striated onyx base with scalloped pen tray, unsigned, 25cm wide, 16cm highA private Bedfordshire collectorScuff marks to the cold painting on the jester. Small insignificant nibble to the base edge of the onyx. The front left base of the calendar slightly turned upwards,
After Clodion ( Claude Michel 1738-1814), a pair of patinated bronze figures of young Nymph and Satyr, 19th century both in playful mien upon naturalistic tree stump bases, marked 'Clodion' to the reverse, now loose mounted on circular Sienna marble socles, 30 cm high the actual figures.private collectiongood order
A pair of renaissance revival bronze and fire gilt ewers, after Claude Michel Clodion, 20th century, the handle surmounted by a winged cherub holding a bunch of grapes and a chalice above a fruiting vine handle and neck, the former terminating in a satyr mask, the main body with cherubs viewing and mapping the stars, above gilt acanthus leaves and fruiting vines, on a circular base, 58.3cmNo obvious faults visible.
A pair of late 19th-century French patinated bronze figural candlesticks, each in the form of a male infant holding a toy drum on his head whilst balancing on a ball with a counterweight in his free hand. On a three-legged base strewn with the toys of childhood. Bearing H.P foundry mark to the bases. Together with a french gilt bronze dressing table box of rococo lozenge form inset with hand-painted Sevres style porcelain panels. 23 cm wide x 13 cm deep x 10 cm high.
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390024 Los(e)/Seite