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Lot 78
Charlotte van Pallandt (1898-1997), Queen Wilhelmina (1967), signed 'PALLANDT' and stamped with foundry mark (on the base), bronze with dark brown patina, H 53 cmCast in 1967 by foundry 'De Olieslag' in Brummen. Provenance: Acquired from Kunsthandel Lambert Tegenbosch, Heusden, by the present owner.Literature: L. Tegenbosch & M. Koekkoek, 'Charlotte van Pallandt. Beelden en Tekeningen', Zwolle 1994, p. 139, cat. no. 136.
Lot 21
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Manola", 1932.Patinated terracotta.Signed at lower left.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 98, no. 152.A bronze copy of this work is in the collection of the MNAC (Museu Nacional d'Art de Catalunya), number inv.010552-000, acquired at the Spring Exhibition in Barcelona, 1932.Marble base.Size: 24 x 13 x 8 cm (figure); 5 x 10.5 x 10.5 cm (base).Airy Manola, whose volumetric simplification manages, paradoxically, to give an idea of graceful movement, attesting to a great plastic mastery.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Lot 30
APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Jeunes filles à la lessive", 1933.Patinated terracotta plaque.Work included in the catalogue of the Fundació Apel.les Fenosa: cat.no. 0145 ("Jeunes filles à la lessive". Provenance: Palmira Fenosa Coll.: Carlota Rotger, La Floresta).Size: 30 x 9 x 7 cm.Two girls enjoy their nakedness while hanging up their clothes and lying in the sun, recreating the joie de vivre of Mediterranean roots, which Apel.les Fenosa adopted for sculpture, modernising canons and language.Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the Ecole de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, painting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.
Lot 33
APEL.LES FENOSA FLORENSA (Barcelona, 1899 - Paris, 1988)."Tête, 1933.TerracottaSigned with monogram at the bottom.Wooden base.Work included in the catalogue raisonné "Apel.les Fenosa", by Raymond Cogniat (ed. Polígrafa, 1966), n.142.Size: 31 x 15 x 18 cm (sculpture); 3 x 17 x 11.5 cm (base).Trained with Enric Casanovas, Fenosa travelled to Paris for the first time in 1921. There he held a solo exhibition in 1925, which was presented by Max Jacob. Returning to Barcelona in 1929, he held exhibitions at the Sala Parés in 1930, 1933 and 1936. At the end of the Civil War he moved back to Paris in 1939, where he definitively integrated into his artistic life. There he met great intellectuals of the time such as Theóphile Briand, Cocteau, Paul Éluard, Colette, Henri Michaux, Supervielle, Genet and Tzara, and even had a notorious romance with Coco Chanel. During these years his art discovered a vegetal world, populated by flaming female figures, which retain the fresh imprint of the artist's fingers. His works are daughters of the earth, from which they emerge, the fruit of imagination, with all their wild and natural character. He had repeated solo exhibitions at the Parisian galleries Zborowsky and Jacques Dubourg, as well as at the Hanover Gallery in London (1954), the Paul Rosenberg Gallery in New York (1960 and 1961), in Tokyo (1966 and 1981) and Madrid (1967 and 1976), among other cities. He also took part in major group exhibitions such as the Salons de Mai and de Jeune Sculpture in Paris, the Antwerp Biennale, the International Exhibition of the Musée Rodin, the Carrara Biennale, the Contemporary French Sculpture Exhibition of the École de Paris, the Petit Bronze, etc. In 1980 the Musée Rodin devoted an anthological exhibition to him. He also worked in portraiture, depicting friends and colleagues. In France he made several monuments, such as the Oradour-sur-Glane monument and the sphinx emblem of the Conseil Constitutionnel in Paris. He is currently represented in the foundation that bears his name in El Vendrell (Tarragona), the Patio Herreriano Museum in Valladolid, the National Library in Madrid, the Rodin Museum in Paris and the Palau de la Virreina in Barcelona, among others.
Lot 75
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Bullfighter".Bronze on veined bronze base.Signed on the back.Size: 32 x 12 x 13 cm; 41 x 14 cm (total with base)."What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves". This was written by the French philosopher Henri Bergson, and this same principle is what Manolo Hugué's sculptures materialise, as in the case of this bullfighter whose posture translates the dense tension of the instant.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Lot 16
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Female Form ebonysculpture: 81 x 16.5 x 14cm (31 7/8 x 6 1/2 x 5 1/2in) including base: 85 x 23 x 23cm (33 7/16 x 9 1/16 x 9 1/16in).Footnotes:Enwonwu understood sculpture to be an essential component of his artistic practice. In an interview conducted on the occasion of a touring exhibition of the artist's work in America in the 1950s, he asserted, 'I am essentially a sculptor, and it is in this art that I feel I can talk to any artist, no matter what race or color. My father was an eminent sculptor and I inherited this wonderful art from him' (Ogbechie, 2008: p. 30). His father, Odigwe Emeke Enwonwu, took up work as a full-time sculptor following his retirement from the Royal Niger Company (RNC) where he has worked as an assistant to ship engineers. Although Enwonwu was only three when his father died, he felt an affinity with sculptural techniques which he ascribed to his artistic familial heritage. He inherited his father's tools and familiarised himself with the techniques of indigenous Igbo (and other Nigerian) sculpture which he continued to draw upon throughout his artistic career.The present sculpture evidences the techniques that Enwonwu acquired during his tenure teaching at Edo College in Benin City (1941-1944). Sylvester Ogbechie notes that Enwonwu 'saw the sojourn there as a spiritual homecoming' (Ogbechie, 2008: p. 57). The rich cultural traditions of the Edo Kingdom of Benin offered an indigenous African cultural heritage fit to undermine colonial European claims of cultural superiority. Enwonwu undertook an apprenticeship with Benin sculptors who taught him the lost-wax technique of bronze sculpture and how to carve ebony.In the present work, the abstract lines of the cropped female form are directed by the properties of the precious wood, demonstrating Enwonwu's masterful handling of his chosen materials. The long, sinuous lines of the figure's elongated legs are elegantly crossed to emphasise the curve of her hips. The resultant exaggerated feminine form recalls Enwonwu's glorification of the female body across his oeuvre as a symbol of nationalistic regenerative power as Nigeria strove to establish its own postcolonial identity in the mid-twentieth century. BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 22
Ezrom Kgobokanyo Sebata Legae (South African, 1938-1999)Lamenting Woman, 1966bronzesculpture: 41 x 13 x 14.5cm (16 1/8 x 5 1/8 x 5 11.16in) including base: 49 x 16.5 x 16.8cm (19 5/16 x 6 1/2 x 6 5/8in).Footnotes:ProvenanceA private collection.For further information on this lot please visit Bonhams.com
Lot 50
Stella Shawzin (South African, 1920-2020)Athlete II signed 'S.Shawzin'bronze158 x 80 x 200cm (62 3/16 x 31 1/2 x 47 1/4in)Footnotes:This work is currently located at Jayhawk. Please contact the department for further information. This lot is subject to the following lot symbols: TPTP 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
Dylan Lewis (South African, born 1964)Striding Tiger signed and inscribed 'Dylan Lewis, 2/8, S371' and bears 'Bronz Editions' foundry stamp (inside of back right leg)bronzeincluding base: 141(H) x 70(W) x 309(L) cm. (55 1/2 x 27 9/16 x 121 5/8 in.)Footnotes:ProvenanceAcquired from Circa Gallery in London in 2016;A private collection.South African wildlife sculptor Dylan Lewis travelled to India for the first time in 2012 to exhibit at the New Delhi Art Fair. Whilst in India he visited Ranthambore National Park, which is renowned for its Tigers. Inspired by this trip, he first cast a Tiger in 2016. Since then, Lewis has produced only a few Tiger busts, maquettes and as the present lot depicts, a life-size Tiger.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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 79
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Untitled signed and dated 'BEN ENWONWU/ 1962' (left shoulder)ceramic with bronze patination23 x 17 x17cm (9 1/16 x 6 11/16 x 6 11/16in).Footnotes:ProvenanceThe collection of the artist Twins Seven Seven;Mr Enrico Mascelloni;A private collection.The bust of a young boy is a rare example of Ben Enwonwu's work in ceramic. A prolific sculptor, the artist primarily worked in wood, bronze, and bronze resin. The present work offers a distinct technique and employment of materials in which a white ceramic has been coated with a bronze-like finish. The technique captures the defined textures that characterise Enwonwu's masterly depiction of his subject, from the folds in the fabric of the boy's shirt to the whorls of his inner ears. The boy's defiant expression positions the work somewhere between a portrait and a character study. Enwonwu's portrait busts of children, typically commissioned by wealthy families, typically present his sitters with neutral facial expressions. They are conceived, primarily, as exercises in realist representation. In contrast, the present work captures the young boy with an expression of quiet defiance. His chin is tilted upwards and juts forward, conveying the strong-willed nature of the child. The bust offers a characterful depiction of Enwonwu's subject and demonstrates his aptitude for emotional realism.The present work was created in 1962: in the middle of a period of great productivity in Enwonwu's sculptural practice. In 1956 he received a portrait commission of Queen Elizabeth II to commemorate her visit to Nigeria earlier that year. Working in London, he conducted preliminary sketches and clay models of the monarch in his own studio before relocating to the Maida Vale studio of his colleague at the Royal Society of British Artists, Sir William Reid-Dick, as the work increased in scale. In an interview conducted with the artist in 1988, Sylvester Ogbechie relates, 'Enwonwu completed his clay model of the queen's portrait in July 1957 and had it cast in bronze by Guilio Galicie, an Italian bronze caster resident in London, from a plaster cast prepared in the studio of Frederico Mancini' (Ogbechie, 2008: p. 138). Similarly, his later iconic bronze of the Yoruba deity Sango (1964), permanently installed outside the headquarters of the Power Handling Company of Nigeria in Lagos, was cast by Italian artisans in London before being relocated to Nigeria. The two sculptures, created around the time of the present work, establishes a precedent for the involvement of Italian craftsmanship in the production of Enwonwu's work in London.Given the complexity of the techniques utilised to create the present work – and its subsequent appearance in an Italian collection – it is not unreasonable to suppose that the bust of the boy was also created in London and its final form fabricated by Italian craftsmen. Along with the bronze and bronze resin versions of his work offered by Enwonwu to his clients to suit different price points, the present technique of coating white ceramic with a bronze finish demonstrates his aptitude working in a variety of mediums with the assistance of skilled workshops.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester: University of Rochester Press, 2008).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 82
Wim Botha (South African, active 1974)Prism 18, 2015 signed and numbered '2/3' (bronze verso)bronze with wooden pedestal, edition of 3 + 2APbronze: 71 x 35.5 x 33cm (27 15/16 x 14 x 13in)including base: 173 x 35.5 x 33cm (68 1/8 x 14 x 13in).Footnotes:ProvenanceStevenson, Cape Town;A private collection (acquired from the above in 2016).Prism 18 (2015) belongs to an ongoing series of semi-abstracted busts created by South African artist, Wim Botha. Botha, who lives and works in Cape Town, has gained a reputation for reconfiguring art historical tropes through his use of unconventional materials including stacked books and government documents. The present work is formed from a polystyrene block which has been roughly shaped using a chainsaw and wire cutter before being cast in bronze. The face of the figure never fully emerges from the carved block. The features remain unarticulated and are further obscured by the intersecting cuts that crisscross the surface of the blackened bronze. The violent treatment of the bust is carried through to the wooden plinth which features a jagged incision to its right side. The angular lines and blackened quality of the bronze sculpture destabilise the meanings traditionally granted to a portrait. Rather than identifying a subject, the bust stands as an index of process, prompting us to reconsider the role of artmaking in the formation of identity and power.Botha's confrontational practice has granted him a number of prestigious awards including the Helgaard Steyn Prize for sculpture in 2013, the Standard Bank Young Artist Award in 2005, and the first Tollman Award in 2003.For further information on this lot please visit Bonhams.com
Lot 114
Joseph Crawhall RSW (British, 1861-1913)Ibex stamp (lower left)bronze plaque21 x 18 cm. (8 1/4 x 7 1/16 in.)Footnotes:ProvenanceWith W.B. Simpson, Glasgow. Label inscribed 'Ibex/Bronze cast from the original plasticine model by Joseph Crawhall/only six casts made'With Roger Billcliffe Gallery, GlasgowFor further information on this lot please visit Bonhams.com
Lot 117
λ MARTIN JENNINGS (BRITISH B. 1952)SIR JOHN BETJEMAN Bronze with a green patina Signed, numbered 14/20 and stamped with Pangolin Editions (to base)41 x 15cm (16 x 5¾ in.)A larger than life version of the present work can be found at St Pancras station in London. It was unveiled on 12th November 2007 to commemorate the opening of the Eurostar terminal. The location memorialises the connection between St Pancras station and Betjeman, a lifelong advocate of Victorian architecture and a founding member of the Victorian Society in 1957. Dreweatts Managing Director, Jonathan Pratt, sat down with Martin Jennings to talk about his career, gleaning fascinating insights into the creative process behind some of the nations most iconic works. Speaking about the process behind creating the statue of Sir John Betjeman, Jennings said: "The reading research is very important, and that is true of authors, writers, poets. You read their works, as much as you read about them, because you learn as much about what it is that people have responded to in that author. So to make a statue of Sir John Betjeman in St Pancras Station, I read all of his poetry a couple of times over, not only because I selected some quotations to carve inscriptions set into the station platform, but also because the poetry informed the mood of the statue. Part of my intention was to make a triangular relationship between sculpture, poetry and architecture, so that the figure is directly related to the building. You follow his gaze up to the roof above you. The poetry that I inscribed below him, which was taken from a poem called 'Cornish Cliffs', describes the awe with which Betjeman himself looked up at the cliffs in Cornwall, and I think stemmed from the same emotional base as the kind of awe that we all have for great buildings. Public sculpture should inform the space that it occupies, as much as the space should inform the sculpture."Condition Report: In good original condition. Condition Report Disclaimer
Lot 163
λ ARMAN (FRENCH 1928-2005)LE VIOLON DE CREMONE (DURAND-RUEL & MOREAU 66) Bronze with gold patinaSigned and numbered 25/100Height including base: 63cm (24¾ in.) Conceived in 1997.Provenance:Remi Pesce (acquired directly from the artist)Acquired from the above by the present ownerThis work is recorded in the Fondation Arman archives under number ARM001947.Condition Report: In generally good condition with no losses. Some scattered blemishes and scuffs to the patina as well as tarnishing and dirt throughout the surface. The work would benefit from a professional clean and polish.Condition Report Disclaimer
Lot 164
λ ARMAN (FRENCH 1928-2005)SANS TITRE (TROMPETTES DÉCOUPÉES) (DURAND-RUEL & MOREAU 32) Bronze with gold patinaSigned and inscribed E.A Height including base: 59cm (23 in.)Conceived in 1989 in an edition of 100 plus 10 artist proofs.Provenance:Remi Pesce (acquired directly from the artist)Acquired from the above by the present ownerThis work is recorded in the Fondation Arman archives under number ARM000977.
Lot 191
λ AUSTIN WRIGHT (BRITISH 1911-1997)JUGGLER AND TRICKAluminium, in two partsHeight: 115cm (45¼ in.)Executed in 1965.Provenance:Private Collection, Sussex (acquired early 1970s)Acquired from the above by the present ownerExhibited:Menston, Ilkley, Goosewell Gallery, Austin Wright, 1968, nos. 14 & 15Literature:James Hamilton, The Sculpture of Austin Wright, London, 1991, p. 104, cat. no. S244 (illustration of 'Juggler' p. 51)Once described as 'the most gifted sculptor working in Britain today' (Charles Sewter in The Manchester Guardian, 1955), Austin Wright's career developed away from the great artistic centres of London, Paris or New York. Working instead in his adopted Yorkshire, his reputation, much like the man himself, was somewhat unassuming. Shying away from the spotlight and eschewing the bright lights of Cork Street, his place in twentieth century British sculpture has often been overlooked and reassessment of his contribution is arguably overdue. Born in 1911 in Chester, Wright spent his childhood in Wales. He never received any formal artistic training and it was not until his mid-forties, that he was able to give up a career in teaching to pursue his art full time. Early success and critical recognition were forthcoming. In 1955, he exhibited alongside Eduardo Paolozzi, Kenneth Armitage and Elisabeth Frink at an exhibition entitled 'Modern Art in Yorkshire' and was subsequently invited to contribute to 'Younger British Sculptors', an exhibition that toured Sweden in 1956 and also featured William Turnbull, Geoffrey Clarke, Reg Butler and Lynn Chadwick.Whilst his work has echoes of Moore and Hepworth, Wright pursued his own artistic path and his mature style is uniquely his own. Drawing inspiration from plant forms and the landscape around him, his work is rooted in the natural world. Initially experimenting with a variety of mediums, including concrete, lead, wood and bronze, in the early 1960s, Wright began working in aluminium. He was impressed by the malleability and ductility of the metal which meant that he could produce finer, more delicate forms whilst retaining the strength to be produced on a large scale. The two works in this sale (lots 191 and 192) are both prime examples of his work of this period.His work is held in a number private and public collections including the Tate Gallery, Arts Council, National Museum of Wales, Cardiff, the Fitzwilliam Museum, Cambridge and the universities of Leeds and York. Significant retrospective exhibitions of his work have been shown at Wakefield (1960), Newcastle (1974), Yorkshire Sculpture Park (1984), Hull (1984) and York Art Gallery (2011).Condition Report: Recently professionally restored and cleaned to a high standard. Sculptures are on their original bases. Please contact the department for the restorer's treatment report. Condition Report Disclaimer
Lot 192
λ AUSTIN WRIGHT (BRITISH 1911-1997)FLOWERAluminium73 x 94cm (28½ x 37 in.)Executed in 1964.Provenance:Private Collection, Sussex (acquired in the late 1960s)Acquired from the above by the present ownerExhibited:London, Rowan Gallery, Austin Wright, 1964, no. 11Literature:James Hamilton, The Sculpture of Austin Wright, London, 1991, p. 103, cat. no. S234 Once described as 'the most gifted sculptor working in Britain today' (Charles Sewter in The Manchester Guardian, 1955), Austin Wright's career developed away from the great artistic centres of London, Paris or New York. Working instead in his adopted Yorkshire, his reputation, much like the man himself, was somewhat unassuming. Shying away from the spotlight and eschewing the bright lights of Cork Street, his place in twentieth century British sculpture has often been overlooked and reassessment of his contribution is arguably overdue. Born in 1911 in Chester, Wright spent his childhood in Wales. He never received any formal artistic training and it was not until his mid-forties, that he was able to give up a career in teaching to pursue his art full time. Early success and critical recognition were forthcoming. In 1955, he exhibited alongside Eduardo Paolozzi, Kenneth Armitage and Elisabeth Frink at an exhibition entitled 'Modern Art in Yorkshire' and was subsequently invited to contribute to 'Younger British Sculptors', an exhibition that toured Sweden in 1956 and also featured William Turnbull, Geoffrey Clarke, Reg Butler and Lynn Chadwick.Whilst his work has echoes of Moore and Hepworth, Wright pursued his own artistic path and his mature style is uniquely his own. Drawing inspiration from plant forms and the landscape around him, his work is rooted in the natural world. Initially experimenting with a variety of mediums, including concrete, lead, wood and bronze, in the early 1960s, Wright began working in aluminium. He was impressed by the malleability and ductility of the metal which meant that he could produce finer, more delicate forms whilst retaining the strength to be produced on a large scale. The two works in this sale (lots 191 and 192) are both prime examples of his work of this period.His work is held in a number private and public collections including the Tate Gallery, Arts Council, National Museum of Wales, Cardiff, the Fitzwilliam Museum, Cambridge and the universities of Leeds and York. Significant retrospective exhibitions of his work have been shown at Wakefield (1960), Newcastle (1974), Yorkshire Sculpture Park (1984), Hull (1984) and York Art Gallery (2011). Condition Report: Recently professionally restored and cleaned to a high standard. Damaged base replaced. Please contact the department for the restorer's treatment report. Condition Report Disclaimer
Lot 91
λ EMILY YOUNG (BRITISH B. 1951)TORSO (FALL)Bronze Height (excluding base): 128cm (50 1/8in.)Conceived in 2005, this work is an artist's proof. Provenance:The Fine Art Society, LondonAcquired from the above by the present owner in 2007Condition Report: The sculpture would benefit from a clean and re-wax. Please contact the department for details and advice pictures@dreweatts.com. There is old tape and glue residue attached to the back of the right thigh. This would need to be removed professionally. Condition Report Disclaimer
Lot 216
A JAPANESE CAST BRONZE KORO, of rounded rectangular form, the domed cover surmounted with a finial in the form of a guardian lion, the one remaining scroll handle in the form of dragons, the body decorated with bands of symbols and floral motifs, raised on four lion decorated feet, 17 x 10 x 9 cm
Lot 522
λClaire Jeanne Roberte Colinet (1880-1950)Towards the Unknown (Valkyrie) patinated and gilded bronze and ivory on textured stone base signed in the stone base Cl J R Colinet, 68.5cm high 70cm. wide Provenance From the collection of Richard Hollins Murray, Dinmore Estate, thence by descent. Literature Bryan Catley Art Deco & Other Figures, ACC Books, page 111 for this and the smaller size illustrated. Ivory declaration reference CXSQQX5K
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