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Lot 2
Lynn Chadwick R.A. (British, 1914-2003)Sitting Couple stamped, numbered and dated 'CHADWICK 75/E/2 6/8' (on the underside); initialled 'C' (on the back of the female figure's cloak)bronze with a black patina37.5 cm. (14 3/4 in.) wideConceived in 1975 and cast in 1976Footnotes:ProvenanceThe Artist, by whom gifted to the previous ownerTheir sale; Sotheby's, London, 19 November 2014, lot 185 (as Reclining Couple)Private Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.302, cat.no.708 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.310, cat.no.708 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.317, cat.no.708 (ill.b&w, another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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 20
Denis Mitchell (British, 1912-1993)Polzeath signed with initials, titled and dated 'POLZETH/DAM/1974' [sic.](on the underside of the base)bronze with a green and polished patina, on a slate base31.6 cm. (12 3/8 in.) high (including the base)Conceived in 1974, in an edition of 7Footnotes:ProvenanceWith Godson & Coles, London, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedLondon, Alwin Gallery, 1974 (catalogue not traced, another cast)Penzance, Newlyn Orion Gallery, 1974 (catalogue not traced, another cast)Oxford, Oxford Gallery, Denis Mitchell, 1974 (catalogue not traced, another cast) London, Marjorie Parr Gallery, Denis Mitchell, 2-24 May 1975, cat.no.3 (another cast)St Ives, Wills Lane Gallery, 1975 (catalogue not traced, another cast)Swansea, Glynn Vivian Art Gallery and Museum, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, cat.no.31 (another cast)LiteratureGeorge Dannatt, Festival Exhibition of Sculpture by Denis Mitchell, Welsh Arts Council, Cardiff, 1979, p.70, cat.no.31 (ill., another cast)Peter Davies, After Trewyn: St Ives Sculptors since Hepworth, Old Bakehouse Publications, Gwent, 2001, pp.15-20 (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 21
Henry Moore O.M., C.H. (British, 1898-1986)Serpent signed and numbered 'Moore 2/9' (on the base)bronze with a brown patina on a bronze base28.3 cm. (11 1/8 in.) long (including the base)Conceived in 1973Footnotes:ProvenanceAlbert FinneySale; Christie's, London, 24 November 2000, lot 46Private Collection, U.K.ExhibitedCaracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E128 (another cast)LiteratureAlan Bowness (ed.), Henry Moore Complete Sculpture 1964-73, Volume 4, Lund Humphries, London, 1977, cat.no.637 (ill.b&w, another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.112, cat.no.E128 (ill.b&w p.114, another cast)Serpentine motifs first appeared in Moore's oeuvre in the twenties when he was a student at the Royal College of Art in London. During this period Moore became fascinated by objects displayed at the British Museum and he later recalled 'one room after another in the British Museum took my enthusiasm. The Royal College of Art meant nothing in comparison ... And after the first excitement it was the art of ancient Mexico that spoke to me most' (Henry Moore quoted in James Johnson Sweeny, 'Henry Moore', Partisan Review, March–April 1947). This attraction came at a moment of cultural fervour and interest around Latin American and especially Mexican pre-Columbian art all around Europe. One piece at the British Museum which particularly attracted Moore's attention was a stone rattlesnake, dated between 1300-1521. Of it he stated, 'although the snake is coiled into a most solid form, it has a real air of menace, as if it could strike at any moment' (exh.cat, Henry Moore at the British Museum, London 1981, p.74). Convoluted serpents can be found in his sketchbooks from 1921 and 1922, and by 1924 he would sculpt his first in marble – Snake (Private Collection). Over the course of his career, Moore would go on to produce three other snakes: Head of Serpent (1927, travertine marble, on long-term loan to Tate), Snake Head (1961, bronze) and finally the present work in 1973.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 24
Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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 26
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.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 3
Lynn Chadwick R.A. (British, 1914-2003)Three Standing Figures each numbered 'E/4/2/8' (on the back of the cloak); each stamped with initial and numbered '75' (on the underside)bronze with a black patina24.2 cm. (9 1/2 in.) high (tallest)Conceived and cast in 1976(3)Footnotes:ProvenanceSale; Sotheby's, London, 30 June 1994, lot 191, where acquired by the previous ownerTheir sale; Sotheby's, London, 11 June 2014, lot 155Private Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.307, cat.no.709 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.310, cat.no.709 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.317, cat.no.709 (ill.b&w, another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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 4
Lynn Chadwick R.A. (British, 1914-2003)Two Reclining Figures stamped and numbered 'CHADWICK 72 643S 1/6' (on the back of male figure)bronze with a black patina and polished faces on a granite base80.1 cm. (31 1/2 in.) long (excluding the base)Conceived in 1974 and cast in 1986Footnotes:ProvenanceSale; Bonhams, London, 29 November 2005, lot 120, where acquired by the family of the present ownersPrivate Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.276, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.284, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.291, cat.no.643STwo Reclining Figures by Lynn Chadwick exude a relaxed aura, resting partly on their sides with the male and female figures joined at the thighs so that the sculpture is one, substantial unit, heightening their sense of togetherness. There is an intimacy inherent in this piece which is difficult to locate in Chadwick's sculptures from the 1950s and 60s and a sense of privacy that we feel as the passing viewer. The male, positioned behind, lifts his right thigh and hip as if he may be about to envelop his partner in a protective and tender moment. The gentle and naturalistic modelling of the female's torso and breasts recalls Chadwick's slightly earlier Elektra I (1968) but here only the faces are polished to give a sleek and shiny surface. The present work rejects the rougher more primitive finish of his first major figure group, The Watchers (1960). The female contrasts most effectively with the more rigid, angular planes of her partner. He is less rounded and voluminous, and the two exquisitely complement one another. It is likely the couple are simply sunbathing, raising their necks so that their faces, at right angles to their bodies, are fully exposed to the rays of the sun they are apparently worshipping. Two Reclining Figures was made shortly after Chadwick and his wife Éva established their own foundry, at Lypiatt Park, Gloucestershire. With Éva by his side, and looking after the business side of his profession, Chadwick emerged out of a period of debt in the 1960s into one with more financial stability. His international reputation had long been secured, and with the luxury of his own foundry from 1971 the sculptor was able to scrutinize the accuracy and quality of the casting process.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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 49
Sir Jacob Epstein (British, 1880-1959)Maquette for St Michael and the Devil bronze with a brown patina on a wooden base54.3 cm. (21 3/8 in.) high (including the base)Conceived in 1956Footnotes:LiteratureRichard Buckle, Jacob Epstein-Sculptor, Faber and Faber, London, 1963, p.393, pl.624 (ill.b&w, another cast)Edward P. and Barbara Ann Schinman (ed.), Jacob Epstein. A Catalogue of the Collection of Edward P. Schinman, Farleigh Dickinson University Press, Rutherford, Madison and Teaneck, 1970, p.55 (ill., another cast)Evelyn Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, cat.no.502This work is a maquette for the large statue on the east wall of Coventry Cathedral, which was unveiled by Lady Epstein in 1960.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 50
Nic Fiddian-Green (British, born 1963)Silence bronze with a brown and blue-green patina on a bronze plinth104 cm. (40 7/8 in.) high (excluding the detachable plinth); 210 cm. (82 5/8 in.) high (including the detachable plinth)Conceived in 2015 in an edition of 12Footnotes:ProvenanceWith Sladmore Contemporary, London, where acquired by the present owner, 2017Private CollectionThis lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 51
Dame Elisabeth Frink R.A. (British, 1930-1993)Lying Down Horse signed and numbered 'Frink/9/9' (on the underside)bronze with a dark brown patina36.3 cm. (14 1/4 in.) longConceived in 1978Footnotes:ProvenanceWith Everard Read Gallery, Johannesburg, where acquired by the present ownerPrivate Collection, South AfricaLiteratureJill Willder (ed.), Elisabeth Frink Sculpture Catalogue Raisonné, Salisbury, 1984, pp.188-9, cat.no.241 (ill.b&w., another cast)Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.139, cat.no.FCR271 (ill.b&w, another cast)'The horse sculptures are nothing to do with the horses you see here in England – the hunter, the showhorse, the racehorse. They're much more to do with the ancient spirit of the horse and with this its evolution in relation to man. The animals I make are far more what I feel for them than what they are in real life. I'm imprecise about the muscles ... I'm much more interested in the spirit of the animal. I get into the inside of the animal, and the outside takes care of itself.' (Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.124).Frink's affection for horses stemmed from her country childhood in Suffolk; her father was a brilliant horseman, a good polo player and an amateur jockey, which may well have added to an enthusiasm which continued throughout her life. Frink though stated 'The fact that I was brought up with horses and taught to ride at an early age had no bearing on the horses I did in France. Those came about because I discovered the Camargue. I actually bought a horse, not having ridden myself for years – I bought one for my son to ride. So then I had a horse about. I used to go down to the Camargue and ride with the local cowboys.' (Ibid., p.118).The Camargue horses are characterised by their large head, slight size, long limbs and small wide-set ears. They live in semi-feral conditions in the wild marshes and wetlands, where the local Gardian 'cowboys' use them to herd the black Camargue bulls, used for bullfighting in the southern region of France. Traditionally the (now protected) wild white horses are pictured galloping through the shallow waters, conjuring up a majestic and romantic image, which relates to Frink's strong and elegant depiction of the animal in the present lot.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 68
Lynn Chadwick R.A. (British, 1914-2003)Maquette IV Two Reclining Figures stamped, numbered and dated 'CHADWICK 73/675S 4/8' (on the back of the male figure's cloak)bronze with a black patina and polished faces40.7 cm. (16 in.) longConceived in 1973 and cast in 1985Footnotes:ProvenanceProbably with Everard Read Gallery, Johannesburg, where acquired by the father of the present ownerPrivate Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.290, cat.no.675S (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.298, cat.no.675S (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.302, cat.no.675S (ill.b&w, another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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 77
Frederick Edward McWilliam (British, 1909-1992)Hollow Head signed with initials and numbered 'MCW/3/5' (on the back of the head)bronze with a black patina36.9 cm. (14 1/2 in.) highConceived in 1960Footnotes:ProvenanceWith Waddington Galleries, London, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, F.E. McWilliam, February-March 1961, cat.no.27 (another cast)Glasgow, Institute of Fine Art, 1961 (another cast)LiteratureRoland Penrose, McWilliam, Alec Tiranti, London, 1964, pl.20 (ill.b&w, another cast)Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.130, cat.no.209This 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 78
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 79
Sophie Ryder (British, born 1963)Lady-Hare with Dog signed and numbered 'Ryder/AC/2' (on the top of the base)bronze with a blue-green patina216 cm. (85 in.) highConceived in 1998, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceThe Artist, from whom acquired bySir John Craven (1940-2022)LiteratureJonathan Bennington, Sophie Ryder, Lund Humphries in association with Berkeley Square Gallery, Aldershot and London, 2001, p.24, cat.no.12 (col.ill., another cast)'She feels right to me, as if she had always existed in myth and legend, like the minotaur'The hare, an animal enshrined in mystique as well as folklore, has been central to Sophie Ryder's output. The hare made its first appearance in her work from the early 1980s and by 1990 she defined the animal's sex as female by placing it next to the minotaur, a mythological creature who is half man and half bull. The Lady-Hare emerged in 1996 and comprised a female trunk with breasts, arms and legs, crowned by a hare's head. In explaining the development of the theme, the artist has commented: 'I came up with the idea for the Lady-Hare when trying to work on a half-human, half-animal subject to use with the Minotaur. The hare seemed to work so well with a female human body. To me the long ears represent a mane of hair, and somehow the whole figure just works, and is so familiar to me. There is no legend behind the Lady-Hare, of course, but plenty of myth about the Hare itself' (Sophie Ryder quoted in Jonathan Bennington, Sophie Ryder, Lund Humphries in association with Berkeley Square Gallery, Aldershot and London, 2001, p.18). Lady-Hare with Dog dates to 1998 and portrays the new relationship between a lurcher, an animal known for its ability as a hunter, and the hare who is traditionally the hunted. However, here the relationship is tender and reconciled as the pair tightly embrace in both physical and spiritual terms, the lurcher having submitted completely to the hare who offers comfort and understanding. As Jonathan Bennington has noted, Lady-Hare with Dog is evocative of Picasso's Shepherd carrying Lamb (1943). We are grateful to the artist for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 228
UNITED KINGDOM. Victoria, 1837-1901. Bronze medal, 1897. Celebratory medal for the Diamond Jubilee of Queen Victoria. Crowned, old, and veiled bust left; VICTORIA ANNVM REGNI SEXAGESIMVM FELICITER CLAVDIT XX IVN MDCCCXCVII. Design by Thomas Brock. / Young, filleted portrait of Victoria facing left, branches and 1837 below; LONGI-TVDO DIERVM IN DEXTERA EIVS ET IN SINISTRA GLORIA. Edge plain Design by George William De Saulles.Light handling marks. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Virtually uncirculated. Reference: Eimer 1817Diameter: 56 mm.Weight: 74.55 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 323
UNITED KINGDOM. Elizabeth II, 1952-2022. Various Metals 10-coin coronation set with some proof, 1953. We note that the florin, shilling, threepence and bronze coins are proof. Weight: 92.26 g.Composition: Various Metals.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 324
UNITED KINGDOM. George VI, 1936-52. Silver and Bronze 10 specimen coins from 1937 with maundy coins and sixpence dated 1902. 1937 coins: Crown down to Farthing, excluding Sixpence1902 coins: Maundy set + SixpenceWeight: 45.70 g.Composition: Silver and Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 325
UNITED KINGDOM. George VI, 1936-52. Silver and Bronze United Kingdom George VI 1937 silver and bronze 15-coin specimen proof set, 1937. We note that the half-crown is impaired proof. Weight: 45.70 g.Composition: Silver and Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 338
UNITED KINGDOM. Elizabeth II, 1952-2022. Bronze penny, 1953. Royal Mint. Laureate bust of Elizabeth II facing right, M.G. on truncation; ELIZABETH II DEI GRATIA BRITT: OMN: REGINA + Design by Mary Gillick. / Seated Britannia right, date below; ONE PENNY around above. Design by Leonard Charles Wyon. Edge plain.In secure plastic holder, graded NGC PF 66 RB, certification number 5878473-017. NGC Census in this grade: 44.NGC Census in higher grade: 36Total NGC Census: 185Reference: S-4154; KM-883Mintage: 1,348,400.Diameter: 31 mm.Weight: 9.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 339
UNITED KINGDOM. Elizabeth II, 1952-. Bronze halfpenny, 1953. Royal Mint. First, laureate bust of Elizabeth II facing right; M.G. on truncation; ELIZABETH II DEI GRA: BRITT: OMN: REGINA F: D: + Design by Mary Gillick. / Sailing ship 'The Golden Hind' of Sir Francis Drake; date below; HALF PENNY above. Design by Thomas Humphrey Paget. Edge plain.In secure plastic holder, graded NGC PF 64 RD CAMEO, certification number 5878464-019. NGC Census in this grade: 26.NGC Census in higher grade: 105Total NGC Census: 145Reference: S-4155; KM-882Mintage: 8,950,000.Diameter: 25.5 mm.Weight: 5.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 340
UNITED KINGDOM. Elizabeth II, 1952-2022. Bronze farthing, 1953. London. Proof. First portrait of Elizabeth II facing right; ELIZABETH II DEI GRA: BRITT: OMN: REGINA F:D: +. Design by Mary Gillick. / Wren; 1953 FARTHING. Design by Harold Wilson Parker.In secure plastic holder, graded NGC PF 65 RD, certification number 5878464-020. NGC Census in this grade: 34.NGC Census in higher grade: 64Total NGC Census: 145Diameter: 22.05 mm.Weight: 2.8 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 912
A pair of Louis XV gilt-bronze twin-branch candelabra, the leaf cast candle arms on scrolling stems and circular feet, and another similar /Provenance: Spetchley Park, Worcestershire CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 976
A 19th Century bronze figure of Mercury, after Giambologna, on a cylindrical base cast with cherubs, 71cm high/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 981
A Spanish bronze ormolu mounted Crucifix, the tri-form base set three female mask heads, on claw feet, 53.5cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 991
A modern bronze depicting a nude couple embracing, on a marble plinth, marked Ebano, 53.5cm high/Provenance: The Rookery, Middlesex CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 995
A pair of Empire style bronze and gilt metal mounted table candelabra, each with six sconces on an angel support, 71cm high/Provenance: The Rookery, Middlesex/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 1002
An alabaster, gilt bronze and champlevé enamel centrepiece of urn form with love bird decoration to the handles, the shallow bowl with a band of enamel decoration on a square plinth with scroll feet, 57cm wide/Provenance: The Rookery, Middlesex/see illustration CONDITION REPORT: Natural faults throughout otherwise condition is good
Lot 1004
A brass sculpture of an eagle, on a bronze branch and plinth, 74.5cm high/Provenance: The Rookery, Middlesex CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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