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Lot 5311
Vom Wind getragene Flora aus Bronze, Frankreich/Italien, 19. Jhdt. Teils vergoldete Bronze. Vollplastische Darstellung der jungen Göttin Flora mit Schere und einer Wurzel in den Händen. Mit einem Fuß tritt sie auf den kräftigen, von Zephyr geblasenen Windstrom. Auf gestuftem Steinsockel mit reliefierten spielenden Putti. Leicht bestoßen. Höhe 81 cm. A French/Italian bronze sculpture of Flora carried by the wind, 19th century A French/Italian bronze sculpture of Flora carried by the wind, 19th centuryTeils vergoldete Bronze. Vollplastische Darstellung der jungen Göttin Flora mit Schere und einer Wurzel in den Händen. Mit einem Fuß tritt sie auf den kräftigen, von Zephyr geblasenen Windstrom. Auf gestuftem Steinsockel mit reliefierten spielenden Putti. Leicht bestoßen. Höhe 81 cm.Condition: II
Lot 1
Large bronze cast in the lost wax method. It represents a realistic bald eagle protecting two eggs in a large nest. Donna Hunter's "Eagle's Nest" turns a quintessential symbol of the American Spirit in a moment of fierce loyalty to the eagle's legacy. The sculpture includes tinted tail feathers and eggs in white and a faint yellow on the sides of the beak and eyes. Donna Hunter finished the claws and beak in a high polish that reflects in the light and contrasts with the massive wings span of the bird of prey. This sculpture is mounted on a large octagonal black marble stone. Signature and edition carved on the lower part of the rock: D. Hunter, 26/399. Artist: Donna HunterDimensions: 28"L x 20"W x 30"HEdition Number: 26 of 399Country of Origin: United StatesCondition: Age related wear.
Lot 2
Large bronze of a realistic American bald eagle that symbolizes the proud ""Spirit of America."" This impressive sculpture has been hand poured in an edition of 399 in the studio of Duane Scott. This fierce eagle grabs onto rock with highly polished claws and his feathers blow to the side from the high wind. The eagle is placed on a round black marble. Signature and copyright carved on the lower part of the rock: Duane Scott. Edition numbers carved on the back: 144/399. Artist: Duane ScottDimensions: 17""L x 11"" W x 22""HEdition Number: 144 of 399Country of Origin: United StatesCondition: Age related wear.
Lot 3
Bronze cast sculpture of two dolphin breaching high above the waves. Mancini used a green patina that reflects the undulating reflections and color of the sea on their upper bodies and a smooth natural patina bronze that reflects on their lower bodies. Mounted on top a curved, rectangular base. Signature and edition carved on the lower back: G. Mancini, 026/300. Includes a bronze plaque on the marble base: "Pals by G. Mancini." Artist: G. ManciniDimensions: 26"L x 11" W x 16"HEdition Number: 26 of 300Country of Origin: United StatesCondition: Age related wear.
Lot 6
Stunning bronze cast edition after Frederic Remington's original Western sculpture "Rattlesnake." It represents a cowboy trying to remain in control of his rearing horse that has spotted a rattlesnake. The details of this sculpture are exceptional and its brown patina is splendid. Carved signature on lower left: Frederick Remington. Name and title on a bronze plaque on the base: "Frederick Remington, Rattlesnake." Artist: Frederic Remington (1861-1909)Dimensions: 16" Lx 22"H x 10"WCountry of Origin: United StatesCondition: Age related wear.
Lot 7
Warrior' bronze sculpture inspired by Frederic Remington. Deep brown patina of a chief charging on a horse with a spear and shield. Attached to a verdigris marble base. Henry Bonnard Bronze Co. 1900 carved atop of the bronze base. Dimensions: 23.25""L x 12""W x 20.75""HManufacturer: Henry Bonnard Bronze Co.Country of Origin: United StatesCondition: Age related wear.
Lot 33
CÉSAR (1921-1998) Quelques cornières, 1957/1973 Épreuve en bronze à patine brune foncée, signée, datée 1957 et justifiée HC3 sur la terrasse et portant le cachet du Fondeur Blanchet sur la tranche H. 42 cm - L. 31 cm - P. 14 cm Traces d'étiquette sur la terrasse, fixation de la terrasse à reprendre légèrement, présence de fines gouttelettes de peinture blanche sur la pièce. Le fer soudé réalisé en 1957, une édition originale en bronze de 12 exemplaires (8 exemplaires justifiés sur 8, 3 exemplaires justifiés HC et 1 exemplaire justifié EA) est initiée à partir de 1973 et réalisée par le fondeur Blanchet/Landowski .Cette oeuvre est enregistrée dans les archives de Madame Denyse Durand-Ruel sous le n°237.Un certificat d'enregistrement pourra être obtenu par l'acquéreur, à sa charge, auprès de Madame Denyse Durand-Ruel Bibliographie : Denyse Durand-Ruel, César, Catalogue Raisonné Volume I 1947-1964, Paris, Éditions de la Différence, 1994, décrit sous le n°202 page 176 et reproduit page 177 Cette sculpture a parfois été publiée avec le titre Plaque Chevalier, du nom de Denys Chevalier, premier propriétaire du fer soudé
Lot 79
LIU BOLIN (Né en 1973)September 11Sculpture en bronze peintSignée, titrée, datée et numérotée sur 8 exemplaires à la base (le nôtre 3/8).Hauteur : 47 cm – Largeur : 12 cm environ(Légers accidents sur la peinture, vendu en l’état).Ces sculptures sont la réaction de l'artiste aux attentats du 11 septembre 2001.
Lot 949
20th Cent. "Pink Elephant" sculpture in painted bronze after Calder - with monogram CA and with foundry mark with certificate by Jean Pierre Djan - Paris dd 2015 || CALDER ALEXANDER (1898 - 1976) / naar sculptuur / mobiel n° 28/999 in gepolychromeerde brons : "L'éléphant rose" - hoogte : 30 cm gemonogrammeerd en met gieterijmerk met certificaat van Jean Pierre Djan - Paris dd 2015
Lot 849
Skulptur 'Steinbock', 20. Jh. Bronze dunkel patiniert, auf einem hohen Marmorsockel sthende Figur eines Steinbockes, unsigniert, H. ca. 35 cm. Berieben, Sockel bestoßen, Altersspuren.| Sculpture 'Capricorn', 20th c. Bronze dark patinated, on a high marble base standing figure of an ibex, unsigned, h. ca. 35 cm. Rubbed, base bumped, signs of age.
Lot 236
Waldemar Otto. (1929 Piotrków Trybunalski - 2020 Worpswede). Sitzende (Mutter des Künstlers). 1973. Bronze mit goldbrauner Patina. Ca. 30 x 24 x 30 cm. Verso mit eingeritztem Monogramm (ligiert) sowie nummeriert (?). - In den Vertiefungen vereinzelt angestaubt, insgesamt sehr gut und tadellos schön. Prachtvoller Guss mit expressiv strukturierter Patina. Gerhard Marcks Stiftung, 132. - Provenienz: Geschenk des Künstlers, seitdem in Berliner Privatbesitz. - Hartog 132 - Bronze ohne Gießereistempel, nach Aussagen des Künstlers erfolgte der Guss in Cremona, Italien. - Seine bildhauerische Ausbildung erhielt Otto ab 1948 an der Berliner Hochschule für bildende Künste. Bereits in frühen Jahren verzeichnete er als Künstler erste Erfolge. Internationale Bekanntheit erlangte er schließlich durch verschiedene Auszeichnungen, Arbeitsaufenthalte und Ausstellungen. Seine Werke finden sich in zahlreichen öffentlichen Sammlungen sowie dem öffentlichen Raum. - In seinem Schaffen thematisiert Otto insbesondere die menschliche Gestalt und setzt sie in Bezug zu Raum und Umgebung. Bildhauerisch bewegt er sich hierbei zwischen Naturalismus und Abstraktion und setzt gezielt erzählerische Spannungsmomente. Die hier dargestellt Sitzende, welche von Otto in einem opulenten Sessel platziert wird, offenbart erst auf den zweiten Blick, dass sie nicht zwei, sondern drei Arme vor sich auf dem Schoß übereinanderlegt. Nach eigener Aussage des Künstlers stellte er seine Mutter dar. Die bewusst ausgeführten drei Arme sollen aufzeigen, welch tüchtige Frau sie stets gewesen ist. - Unser Exemplar diente vermutlich als Vorlage für die sich in Düsseldorf im Spee'schen Park befindliche Großplastik "Alte Frau im Sessel", 1973/81. Bronze with golden-brown patina. With incised monogram (ligated) and numbering on the verso. - Occasionally dusted in deepenings, overall very good and impeccably nice. Splendid cast with expressively structured patina. - Provenance: Gift by the artist to current owner. - Bronze without foundry stamp, according to the artist the casting took place in Cremona, Italy. - Otto received his sculptural training at the Berlin Hochschule für bildende Künste from 1948. He already had his first successes as an artist in his early years. He finally achieved international fame through various awards, work residencies and exhibitions. His works can be found in numerous public collections as well as in public spaces. - In his work Otto focuses in particular on the human figure and relates it to space and environment. In terms of sculpture, he moves between naturalism and abstraction and deliberately creates narrative moments of tension. The seated woman depicted here, who is placed by Otto in an opulent armchair, only reveals at second glance that she has not two but three arms superimposed on her lap in front of her. According to the artist's own statement, he was depicting his mother. The deliberately executed three arms are intended to show what a capable woman she always was. - Our copy probably served as a model for the large sculpture "Old Woman in an Armchair", 1973/81, in Düsseldorf's Spee'schen Park.
Lot 285
Hansjörg Wagner (Berlin 1930 - München 2013). Liegender Panther. Um 1990. Bronze, dunkel patiniert. H. 11 cm. Auf der Plinthe monogr. HJW, Ex. 5/12 (unterseitiges Klebeetikett). - Deutscher Maler, vorwiegend von Landschaften und Veduten, sowie Bildhauer, als solcher 1951-56 ausgebildet bei Fritz Behn in München. In seinem Münchner Atelier arbeitete er in Marmor und Bronze und schuf zahlreiche Arbeiten für den Öffentl. Raum, so z.B. die "Zitronenjette" in Hamburg, den "Eisbären-Brunnen" im Zoologischen Garten Berlin sowie Tierplastiken in München-Hellabrunn, Schwandorf und Luzern. Wagner war Ehrenmitglied der Accademia internazionale delle Muse in Florenz und Mitglied der National Sculpture Society in New York. Lit.: Der Neue Rump u.a.
Lot 28
Piero Bertelli (Italian 1940-) "Underwater Fisherman" Signed, with stamped foundry mark 'Fonderia Marinelli, Firenze', bronze and stone sculpture set on a marble base.height 58cmBought from Peter Bazzanti & Son, Florence in September, 2007.Artists’ Resale Right (“droit de suite”) may apply to this lot.The sculpture is in very good, original condition with no obvious faults to report.
Lot 44
JEAN-BAPTISTE CARPEAUX (1827-1875)Le Chinois (BU 23 - Esquisse)buste en bronze signé sur l'épaule gauche « JB te Carpeaux » et sur la droite « Fonte spéciale./Susse Frs Edt/Paris/ » avec le cachet circulaire « SUSSE FRERES EDITEURS. PARIS. » et au dos le cachet rectangulaire « SUSSE PARIS/CIRE PERDUE »reposant sur un socle en marbre vert veiné quadrangulaire probablement d'époque postérieurefonte posthume à la cire perdue réalisée vers 1920A bronze bust of Le Chinois Esquisse (the sketched Chinese man), Jean-Baptiste Carpeaux (1827-1875)signed on the left shoulder 'JB te Carpeaux' and on the right 'Fonte spéciale./Susse Frs Edt/Paris/' with the circular stamp 'SUSSE FRERES EDITEURS. PARIS.' and on the back the rectangular stamp 'SUSSE PARIS/CIRE PERDUE'standing on a green veined marble base probably later periodposthumous cire perdue cast circa 192055 x 48.5 x 29 cm (21 5/8 x 19 1/8 x 11 7/16 in); hauteur totale: 67 cm (26 3/8 in)Footnotes让·巴普帝斯蒂·卡尔波(1827-1875)中国人(BU 23 - 草图)青铜，失蜡铸造法，雕塑家死后被铸1920年完成ProvenancePar tradition, ancienne collection Robert Spira.ExpositionParis, Didier Imbert Fine Art, "20 ans de Passion" Alain Delon, Sculptures, Printemps 1990, no 5, p. 20, ill. p. 21.Bibliographies comparativesExposition des œuvres de Carpeaux et de Ricard, Catalogue Salle du Jeu de Paume, 15 mai-15 juin, 1912.S. Lami, Dictionnaire des Sculpteurs de l'Ecole Française au dix-neuvième siècle, Paris, 1914, Vol. I, pp. 265-9.J. G. Lovett, A Romance with Realism : The Art of Jean-Baptiste Carpeaux, Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 1989, p. 30.M. Poletti, A. Richarme, Jean-Baptiste Carpeaux, Sculpteur, Catalogue raisonné de l'œuvre édité, Paris, 2003, BU23, pp. 122-5.J. Draper, L. de Margerie, The Passions of Jean-Baptiste Carpeaux, The Metropolitan Museum of Art, Exhibition Catalogue, New York and Paris, 2014, pp. 156-167.Dans le cadre de la restructuration de Paris par le Baron Georges-Eugène Haussmann, de nombreuses commandes publiques sont faites par la ville ; le quartier du Luxembourg bien que protégé par son jardin voit le prolongement de l'avenue de l'Observatoire et la création du Parc des Explorateurs. Pour ce parc, Haussmann préfet de la Seine en 1867, commande à Jean-Baptiste Carpeaux la fontaine des Quatre parties du monde, pour la pièce centrale. Quatre grandes figures féminines représentant, l'Europe, l'Asie, l'Afrique et l'Amérique soutenant la Sphère Céleste.Carpeaux veut s'assurer de l'exactitude culturelle de ses personnages et s'inspire notamment des bustes ethnographiques que réalise son confrère Charles Cordier (1827-1905). Carpeaux recrute des modèles africains et chinois afin de restituer avec la plus grande exactitude les allégories africaines et asiatiques. Travaillant dans le Paris du XIXe siècle, l'artiste n'a pas pu trouver de femme d'origine chinoise prête à poser pour lui. Il a donc employé un homme chinois, dont il a ensuite greffé la tête sur le corps d'une femme occidentale nue afin de créer sa figure allégorique de l'Asie. La qualité androgyne du Chinois devient ainsi facilement compréhensible lorsqu'elle est considérée dans le contexte d'une création d'après un modèle masculin et pourtant destinée à une forme féminine.Carpeaux a réalisé deux versions du Chinois. Le buste Le Chinois (Esquisse) est une étude préparatoire de 1868 pour la version Le Chinois N°1 exécutée en 1872, et le Chinois N°2 une réduction à demi-grandeur.Le plâtre original Le Chinois (Esquisse) a été exposé à l'Ecole nationale supérieure des Beaux-Arts à Paris en 1894, puis a figuré en 1912 à l'Exposition de la salle du Jeu de Paume; il a été vendu 27.000 francs, à la galerie Manzi, le 30 mai 1913 lors de la vente Carpeaux. Il a été ensuite exposé au Salon à Bruxelles en 1874, et a été édité en plus petit, et souvent présenté en paire avec le Buste Négresse. Il est intéressant de noter que lorsqu'un modèle du buste Le Chinois de 1868 est apparu aux enchères à Amsterdam le 19 octobre 1874, il était déjà considéré comme une "esquisse".Cette œuvre, bien qu'à l'état d'esquisse, est considérée par l'artiste comme achevée, dès 1870, elle est éditée en terre cuite a seulement quelques exemplaires et Carpeaux l'imposait dans ses ventes. Les tirages en bronze sont posthumes et réalisés par la maison Susse Frères à partir de 1914. La fonderie Susse a produit un catalogue pour les œuvres de Carpeaux et a édité les deux versions du buste Le Chinois. Identifiés comme les modèles N° 1 et N° 2, les bustes sont répertoriés dans le catalogue sous les numéros 7 et 8 respectivement. L'esquisse en bronze figure dans le catalogue Susse de 1914 au prix de 800 francs.La version esquissée du buste Le Chinois compte parmi les plus beaux exemples de l'art du portrait de Carpeaux. Il présente une multiplicité de facettes, notamment dans le costume, ce qui lui confère une surface vibrante et spontané. Véritable démonstration de virtuosité artistique, Carpeaux a saisi les traits dans les moindres détails. Par son modelé sensuel, notre buste traduit admirablement le travail de la main du sculpteur, suggérant ainsi un précurseur de la sculpture moderniste d'Auguste Rodin qui suivra peu de temps après.As part of the renovation of Paris by Baron Georges-Eugène Haussmann, many public commissions were implemented by the city; the Luxembourg district, although protected by its garden, saw the extension of the Avenue de l'Observatoire and the creation of the Parc des Explorateurs. For this park, Haussmann, Prefect of the Seine in 1867, commissioned Jean-Baptiste Carpeaux to create the fountain of the Quatre parties du monde, for the central piece: four large female figures representing Europe, Asia, Africa and America supporting the Celestial Sphere.Carpeaux wanted to ensure the cultural accuracy of his characters and was inspired by the ethnographic busts made by his colleague Charles Cordier. Carpeaux recruited African and Chinese models in order to render the African and Asian allegories with the greatest veracity. Working in 19th century Paris, the artist could not find a woman of Chinese origin willing to pose for him. So he employed a Chinese man, whose head he then grafted onto the body of a naked Western woman to create his allegorical Asian figure. The androgynous quality of the Chinaman thus becomes easily understood when considered in the context of creating a female form from a male model.Carpeaux created two versions of the Chinaman. The bust of Le Chinois (Esquisse) is a preparatory study from 1868 for the version Le Chinois N°1 executed in 1872, and Le Chinois N°2 is a half-size reduction.The original plaster cast of Le Chinois (sketch) was exhibited at the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1894, then in 1912 at the Exposition de la Salle du Jeu de Paume; it was sold for 27,000 francs at the Galerie Manzi on May 30, 1913 at the Carpeaux auction. It was then exhibited at the Salon in Brussels in 1874, and was produced in smaller editions, and often presented in pairs with the Buste Négresse. It is interesting to note that when a model of the 1868 bust Le Chinois appeared at auction in Amsterdam on October 19, 1874, it was already considered a to be a "sketch."For further information on this lot please visit Bonhams.com
Lot 42
ANTOINE-LOUIS BARYE (1796-1875)Cheval Turc N°2, antérieur gauche levé modèle en bronze à patine brun rougeâtre à rehauts vert ; reposant sur une base rectangulaire ; numéroté « 52 » sous le ventre du cheval ; signé sur la terrasse « BARYE » et numéroté « 058 »épreuve ancienne, 1857-1875A bronze model of Cheval Turc N°2, left foreleg up, Antoine-Louis Barye (1796-1875)reddish-brown patina with green highlights; standing on a rectangular base; numbered 52 under the horse'stomach; signed on the terrace 'BARYE' and numbered '058'old cast, 1857-187530 x 31.5 x 12.5 cm (11 13/16 x 12 3/8 x 4 3/4 in)Footnotes:安托万·路易斯·巴里(1796-1875)土耳其马，编号2，左前马蹄抬起青铜，古代作品，1857-1875ProvenanceFrançois Fabius (1944-2006), Paris.ExpositionParis, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Sculptures, Printemps 1990, no 4, p. 19, ill. pp. 16-17. Barye débute sa formation dans l'atelier de François-Joseph Bosio et poursuit ses études auprès du peintre Antoine-Jean Gros. Il se rendait régulièrement au zoo de Paris, le Jardin des Plantes, où il dessinait les animaux directement d'après nature. Considéré comme le maître incontesté de la sculpture animalière, Barye a étudié les animaux pour représenter les extrêmes de puissance et d'émotion qui étaient au cœur du mouvement romantique. Le Cheval Turc est souvent considéré comme le modèle incarnant le mieux sa vision unique de la sculpture et sa maîtrise suprême de l'anatomie.Le succès du Cheval Turc a persuadé Barye d'éditer quatre versions différentes du modèle, deux avec des bases rectangulaires, comme le lot ici présent, et avec la jambe avant droite ou gauche levée, et deux avec des bases ovales, également avec la jambe avant droite ou gauche levée. Le Cheval Turc n° 2 fut en fait le premier modèle édité, le Cheval Turc n° 1, un modèle légèrement moins stylisé, étant proposé comme nouveau modèle en 1874. Créé entre 1837 et 1874, le modèle actuel avec la jambe avant gauche levée apparaît dans le catalogue de Barye vers 1847-48 (6, rue de Boulogne). Son pendant avec la jambe droite levée a suivi en 1854-55. Pour beaucoup, l'anatomie expressive du puissant Cheval Turc est emblématique de l'ensemble de l'œuvre de Barye. Barye began his training in the studio of François-Joseph Bosio and continued his studies with the painter Antoine-Jean Gros. He regularly visited the Paris zoo, the Jardin des Plantes, where he drew animals directly from life. Considered the undisputed master of animal sculpture, Barye studied animals to represent the extremes of power and emotion that were central to the Romantic Movement. The Cheval Turc is often considered the model that best embodies his unique vision of sculpture and his supreme mastery of anatomy.The success of the Cheval Turc persuaded Barye to produce four different versions of the model, two with rectangular bases, like the present lot, and with the right or left front leg raised, and two with oval bases, also with the right or left front leg raised. The Turkish Horse No. 2 was in fact the first model published, the Turkish Horse No. 1, a slightly less stylized model, being proposed as a new model in 1874. Created between 1837 and 1874, the present model with the left front leg raised appears in Barye's catalog around 1847-48 (6, rue de Boulogne). Its counterpart with the right leg raised followed in 1854-55. For many, the expressive anatomy of the powerful Cheval Turc is emblematic of Barye's entire oeuvre.For further information on this lot please visit Bonhams.com
Lot 45
William Turnbull (British, 1922-2012) Sculpture stamped with monogram, numbered and dated '3/4 T 56' (on the base) bronze with a brown patina 143 cm. (56 1/4 in.) high Conceived in 1956 in an edition of 4 plus one artist's cast, and cast circa 2008 by Livingstone Art Foundry For further information on this lot please visit Bonhams.com
Lot 60
Dame Elisabeth Frink R.A. (British, 1930-1993)First Horse signed and editioned '/6 Frink' (on the back-left hoof)bronze with a brown patina56.3 cm. (22 1/8 in.) highConceived in 1990, this cast is number 1 from the edition of 6Footnotes:ProvenanceThe Artist, from whom acquired byEric and Wanda Newby, 1991, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.85 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.190, cat.no.SC57 (ill.b&w, another cast)Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council, Salisbury, 1997, pp.42, 71, cat.no.SC57 (coll.ill., another cast)Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonne of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.186, cat.no.FCR388 (col.ill., another cast)The horse is widely regarded as being Frink's most successful and commercial motif. Emerging during the late 1960s and conceived as both singular entities and with riders, they are largely the result of her time spent in the Camargue region of France, celebrated for its herds of semi-wild horses and rugged landscape. Frink's father had been a keen horseman during her childhood in rural Suffolk and the country life resonated with her, acting as a welcome distraction from the London art scene at the time.Upon returning to England in 1973 Frink continued to explore and develop the horse theme within her work over the following decades. As with the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal' (Edward Lucie-Smith & Elisabeth Frink, Frink: A Portrait, London, Bloomsbury, 1994, p.123).At Woolland, there was always a small group of thoroughbreds in the stable yard, Frink's husband was an enthusiastic racing man who had hopes of winning an important event with a horse he had bred. These thoroughbreds were part of Frink's domestic surroundings, but they were not, except in a very general fashion, models for her work. The type of horse which attracted her aesthetically was the beast in its most primitive form. The horses of Camargue, whose resemblance to those in the cave paintings at Lascaux has often been remarked upon, made an indelible imprint on her imagination: she liked their stocky bodies, short necks and large heavy heads. Edward Lucie-Smith notes that it is a Camargue horse which is likely to have supplied the model for First Horse (Elisabeth Frink Sculpture since 1984 and Drawing, London, 1994, p.40).The former owner of the present work, Eric Newby, was an English travel writer famed for works such as A Short Walk in the Hindu Kush, A Small Place in Italy and Round Ireland in Low Gear. He also made travel films for the BBC and was awarded a CBE in 1994. Eric and Wanda formed a close friendship with Frink and the present work is accompanied by a letter from the artist to them dated 26 June 1991, confirming this cast is number 1 from the edition of 6.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 15
Denis Mitchell (British, 1912-1993)Clodgy signed with initials, titled, numbered and dated 'CLODGY/1979 6/7/DAM' (on the base)bronze with a green and polished patina on a slate base90.1 cm. (35 1/2 in.) high (including base)Footnotes:ProvenanceWith The New Craftsman Gallery, St Ives, where acquired by the present owner Private Collection, U.K.ExhibitedLondon, Alwin Gallery, 1979 (catalogue not traced, another cast)St Ives, Penwith Galleries, 1981 (catalogue not traced, another cast)London, Crane Kalman Gallery, Denis Mitchell: Selection of Sculptures and Reliefs, 9 October-1 November 1986, cat.no.15 (another cast)London, Berkeley Gallery, 1989 (catalogue not traced, another cast)Penzance, Newlyn Orion Gallery, 1990 (catalogue not traced, another cast)Dublin, Bridge Gallery, Denis Mitchell and Friends, 31 January-2 March 1997, cat.no.5 (another cast)St Ives, Penwith Galleries, Denis Mitchell: Sculptor, 30 June-1 August 1992, cat.no.87 (another cast) London, Flowers East, Denis Mitchell, 1993, cat.no.7 (another cast) Swansea, Glynn Vivian Art Gallery, Denis Mitchell: Sculpture 26 March-19 June 1994, cat.no.4 (another cast)Brighton, Gardner Arts Centre, Denis Mitchell (1912-1993) 'A Life of Art', 4-30 October 1993, cat.no.6 (another cast)St Ives, Penwith Gallery, The Rock and The Light: an exhibition of Denis Mitchell & Tom Early, 12 October-9 November 1996, cat.no.4 (another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 59
Dame Elisabeth Frink R.A. (British, 1930-1993)Larger Lying Down Horse signed and numbered 'Frink 2/6' (on the horse's back)bronze with a brown patina35.6 cm. (14 in.) wideFootnotes: ProvenancePrivate Collection, South Africa, prior to 2000, and thence by descentPrivate Collection, South AfricaExhibitedLondon, Waddington Galleries I, II, III, Elisabeth Frink: Sculpture and Prints and Drawings from Chaucer, 11 October-4 November 1972, unnumbered (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985, unnumbered (another cast)LiteratureMarina Vaisey, 'Elisabeth Frink', Arts Review, 21 October 1972, p.647Edwin Mullins (intro.), The Art of Elisabeth Frink, Lund Humphries, London, 1972, pl.118 (ill., as Larger Rolling Over Horse, another cast)Bryan Robertson, Elisabeth Frink, Sculpture, Harpvale Books, Wiltshire, 1984, p.180, cat.no.203, (ill.b&w, p.181, another cast)Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.124, cat.no.FCR230 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 21
Henry Moore O.M., C.H. (British, 1898-1986)Small Head: Strata signed and numbered 'Moore 5/9' and stamped with foundry mark 'M.NOACK BERLIN' (on the back of the neck)bronze with a brown patina on a granite base11.6 cm. (4 1/2 in.) high (excluding the granite base)Conceived in 1960Footnotes:ProvenancePrivate Collection, ItalyLiteratureAlan Bowness (ed.), Henry Moore: Complete Sculpture 1955-64, Volume 3, Lund Humphries, London, 1986, p.46, cat.no.468 (ill.b&w, another cast)John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.226, cat.no.431 (col.ill., another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 46
Dame Elisabeth Frink R.A. (British, 1930-1993)Falling Man signed and numbered 'Frink/3/6' (on the base)bronze with a black patina67 cm. (26 3/8 in.) highConceived in 1961Footnotes:Provenance Private Collection, U.K. ExhibitedLondon, Waddington Galleries I, II, III, Elisabeth Frink: Sculpture and Prints and Drawings from Chaucer, 11 October-4 November 1972, unnumbered (another cast)Washington D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990, unnumbered (another cast)Salisbury, Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, May-June 1997 unnumbered (another cast)London, Beaux Arts, Elisabeth Frink, 7 June-8 July 2006, unnumbered (another cast)Bournemouth, Bournemouth University, Elisabeth Frink and the Next Generation, 2011-12 (catalogue untraced)Elisabeth Frink: Humans and Other Animals, Sainsbury Centre for Visual Arts, Norwich, 13 October 2018-24 February 2019, unnumbered (another cast)LiteratureHoward Griffin, 'Elisabeth Frink', Studio, October 1961, pp.131-4Edwin Mullins (intro.), The Art of Elisabeth Frink, Lund Humphries, London, 1972, pl.33 (ill.b&w, another cast)Brian Connell, 'Capturing the Human Spirit in Big, Bronze Men', The Times, 5 September 1977, p.5Bryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.152, cat.no.72 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, W.M. Brown & Son, Richmond, Virginia, 1990, p.64Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council, Salisbury, 1997Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.74, cat.no.FCR89 (ill.b&w, another cast)Calvin Winner (ed.), Elisabeth Frink: Humans and Other Animals, Sainsbury Centre for Visual Arts, Norwich, 2018, p.115 (col.ill., another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 47
Dame Elisabeth Frink R.A. (British, 1930-1993)Soldier's Head II signed and numbered 'Frink 3/6' (on the back of the neck)bronze with a dark brown patina37.5 cm. (14 3/4 in.) highConceived in 1965Footnotes:ProvenanceAcquired by the family of the present owner, circa 1980, thence by descentPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink, 1965 (another cast)London, Battersea Park, Sculpture in Battersea Park, May-September 1966 (another cast)London, Waddington Galleries I, II, III, Elisabeth Frink: Sculpture and Prints and drawings from Chaucer, 11 October-4 November 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-25 March 1985, cat.no.33 (another cast)London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast)LiteratureBryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.162-3, cat.no.118 (ill.b&w, another cast)Sarah Kent (ed.), Elisabeth Frink, Sculpture and Drawings 1952-1984, Royal Academy of Arts, London, 1985, p.13, cat.no.33 (another cast)Catalogue of the Ingram Collection, The Lightbox, 2009, p.40 (col.ill., another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.95, cat.no.FCR142 (col.ill., another cast)Frink comments; 'In the mid sixties I made a series of soldier's heads which were rather brutal. They had pigtails. I like the idea of the head being terminated in some kind of ribbon at the back. The pigtail in my sculptures was rather like a cardinal's ribbon. I was married to a man, Edward Pool, whose head was rather like this – no pigtail, but bearded, a fine head – and I incorporated his beard into the shape of a head so each sculpture, indirectly based on this man, had a rather massive jaw.' (Elisabeth Frink quoted in Jill Wilder (ed.), Elisabeth Frink Sculpture; Catalogue Raisonné, Harpvale, London, 1984, p.37). Edward (or Ted) Pool was Frink's second husband whose severe war wounds acted as a constant reminder of the violence of her times. Anti-militant, Frink engaged her sculpture to combat ideas of celebrating war and violence. The soldier is not presented as a functioning military machine but a disfigured, stupefied and helpless being. Conceived in her most active year, Soldier's Head II is an early example of Frink's use of the form of the head as a 'vehicle for emotion' and would receive early praise with Edward Mullins declaring; 'These blunt representations of the hireling thug are in my view her most interesting yet' (Edward Mullins, 'Grown-Up Prodigies', The Sunday Telegraph, 5 December, 1965, p.12).Themes first explored in the Soldier's Head works were then developed in the equally combative and iconic Goggle Heads and then resolved in the restful Tribute Heads a decade later.Another cast from this edition resides in the Ingram Collection.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1183
Klassizistische Bronze-Pendule mit Diana bei der JagdFrankreich. 1. H. 19. Jh. "FNI66" geprägtes Werk mit Halbstundenschlag auf Glocke, läuft. Zifferblatt mit römischen Zahlen und Minutenkranz, Breguet-Zeigern, bezeichnet "Michelez E[le]ve de Bréguet". Bronze, vergoldet und dunkel patiniert. Ca. 42 x 32 x 12,5 cm. 6,8 kg. Stufensockel mit Jagdfries und bekrönender Diana-Skulptur mit Hund, Pfeilköcher, Langbogen und Sonnenuhr Leichte Altersspuren. Glocke und Pendel mit Fadenaufhängung ergänzt. Mit Schlüssel. Classical bronze pendule with Diana huntingFrance. 1st half 19th c. "FNI66" stamped movement with half hour strike on bell, running. Dial with Roman numerals and minute crown, Breguet hands, marked "Michelez E[le]ve de Bréguet". Bronze, gilt and dark patinated. Approx. 42 x 32 x 12,5 cm. 6.8 kg. Tiered base with hunting frieze and crowning Diana sculpture with dog, quiver of arrows, longbow and sundial Slight signs of age. Bell and pendulum with thread suspension supplemented. With key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
![ZADKINE, Ossip(1888 Wizebsk - 1967 Neuilly-sur-Seine) "Die zerstörte Stadt"Lithografie. Im Druck signiert. [19]51.Blatt: 4](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/e2e35fa3-7149-43c0-849a-b01a002b7795/468x382.jpg)
Lot 1542
ZADKINE, Ossip(1888 Wizebsk - 1967 Neuilly-sur-Seine) "Die zerstörte Stadt"Lithografie. Im Druck signiert. [19]51.Blatt: 47,2 x 30,2 cm, im Passepartout: 53 x 40 cm. Seitenansicht zur 6,50 m hohen kubistischen Bronzeplastik eines Mannes mit zum Himmel gestreckten Armen "De verwoeste Stad", die 1953 in Rotterdam enthüllt wurde. Das Loch an der Stelle seines Herzens symbolisiert das "Herz der Stadt Rotterdam", das während der Bombenangriffe auf Rotterdam im Zweiten Weltkrieg zerstört wurde Blatt lichtgebräunt und knickspurig.Russisch-französischer Maler; gilt als einer der bedeutendsten Künstler kubistischer Plastiken. ZADKINE, Ossip(1888 Vizebsk - 1967 Neuilly-sur-Seine) "The Destroyed City"Lithograph. Signed in print. [19]51.Sheet: 47.2 x 30.2 cm, in mount: 53 x 40 cm.Side view to the 6.50 m high cubist bronze sculpture of a man with arms stretched to the sky "De verwoeste Stad", unveiled in Rotterdam in 1953. The hole in the place of his heart symbolizes the "heart of the city of Rotterdam", which was destroyed during the bombing of Rotterdam in World War II Sheet light browned and creased.Russian-French painter; considered one of the most important artists of cubist sculptures.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 1707
DUCHAMP-VILLON, Raymond(1876 Damville - 1918 Cannes) Sitzender Frauenakt ("Femme assise")Bronze patiniert, weiße Marmor-Plinthe. Nach 1985. Bezeichnet, Gießermarke Royal Art Collection mit Zählung "22/299". H 47 / 51 cm. 16 kg. Limitierte spätere Ausführung des auf einer Stele sitzenden Frauenaktes in figurinenhafter Formgebung Etwas korrodiert, gering berieben. Schüler von Rodin, später von Maillol. Seine Plastik "Femme assise" zählt neben der ebenfalls 1914 entstandenen Skulptur "Le cheval" zu seinen Hauptwerken. Literatur : Thieme/Becker. DUCHAMP-VILLON, Raymond(1876 Damville - 1918 Cannes) Sitting female nude ("Femme assise")Bronze patinated, white marble plinth. After 1985. inscribed, foundry mark Royal Art Collection with count "22/299". H 47 / 51 cm. 16 kg. Limited later version of the female nude sitting on a stele in figurine-like design Slightly corroded, slightly rubbed. Pupil of Rodin, later of Maillol. His sculpture "Femme assise" is one of his major works, along with the sculpture "Le cheval", also created in 1914. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 503
A large and impressive painted Sculpture Group possibly bronze, of a lady in 1920's style costume, wearing a headdress, with black and gilt dress and two gilded borzoi hounds at her feet, the base with design of continuous horizontal gilded motifs, and painted fruiting vine in relief, 6ft 7in H x 3ft 4in W
Lot 387
Sir William Goscombe John (1860-1952)A Boy at Play, patinated bronze,unsigned, 47.5cm. high ProvenanceHoward Bliss,Private collection.LiteratureM. H. Spielmann, British Sculpture and Sculptors of To-day, 1901, page 130 and131 for the plaster maquette illustrated. This figure was first exhibited at the Royal Academy in 1895.
Lot 556
SERGE YOURIEVITCH (1876-1969): A BRONZE SCULPTURE OF ‘LA DANSEUSE NATTOVA’Cast with 'S. YOURIEVITCH SCULP./LA DANSEUSE NATTOVA' to the rectangular base, 74cm highSerge Yourievitch was born in Paris to a noble Russian/Belarusian family. He once served as a Lord-in-Waiting to Tsar Nicholas II before training as a sculptor under Auguste Rodin. Yourievitch was famous predominantly for bronze garden statuary and portraits of eminent individuals including Theodore Roosevelt and Thomas Hardy. In the 1950's Yourievitch became a professor at the Guildford School of Art.
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