There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBarocker KerzenleuchterGemarkt. WINDHESEL, Johann Bronze. H 23 cm (ohne Dorn). Leuchtermacher in Nürnberg, 1704 in die Meisterliste eingetragen, 1725-30 Geschworener. Literatur : Thieme/Becker (hier Hans Weindhäsel). Hermann P. Lockner 1981, Die Merkzeichen der Nürnberger Rotschmiede, Seite 155, Nr. 1121.
TROUBETZKOY, Pavel Petrovich(1866 Intra - Suna 1938) Reiter auf buckelndem PferdBronze patiniert. "Paolo Troubetzkoy 1933" bezeichnet. 39,5 x 35 x 21 cm. Mit dem Hut grüßender Reiter auf stark buckelndem Pferd Minimal berieben, leichter Grünspan. Auch Trubezkoj geschriebener Künstler aus Italien, seit 1887 vom Zaren nach Moskau berufen, dort Lehrstelle an der Staatlichen Kunstschule. Tätig auch in den USA und in Paris. Literatur : Thieme/Becker.
Bergère mit Bronze-Greifen im Empire-StilWohl 2. Hälfte 19. Jh. Nussbaum massiv. H 84 cm, B 70 cm, Sitzhöhe ca. 45 cm. Ausladender, voll gepolsterter Sessel, dekoriert mit massiven Bronze-Greifen an den Seitenteilen, Bronze-Palmettenblatt und Bronze-Tatzen an den Vorderbeinen; rosafarbener Bezug mit Floralmuster Restaurierungs- und reinigungsbedürftig. Provenienz : Aus süddeutschem Adelshaushalt.
Tischlampe mit vergoldetem Prunk-Bronzeleuchter als FußKerzenleuchter 19. Jh., neue Elektrik und Schirm. Feuervergoldete Bronze mit Holzkern im Sockel, Kunststoffschirm mit bordeauxfarbenem Stoffbezug. H Leuchter 37 cm, H gesamt 57 cm. Außerordentlich reich mit Reliefornament und Maskaronen verzierter Leuchter sowie applizierte Delfine am Schaftansatz. Aufmontierte 1-flammige Schraubfassung im trapezförmigen Schirm Funktioniert.
HENN, Ulrich (zugeschrieben)(*1925 Schwäbisch Hall) "Der fröhliche Akrobat"Bronze patiniert. 1970. Unsigniert, auf Klebezettel betitelt/datiert. H 52 cm. Akrobatische Höchstleistung und gießtechnische Herausforderung Tätig in Stuttgart, Leudersdorf/Eifel, England und den USA. Literatur : Vollmer.
3-flammige Bibliothekslampe "Bouillotte"Anfang 20. Jh. Bronze, Messingschirm innen beige und außen schwarz lackiert, Schraubfassungen mit Papp-Kerzenhülsen. H 69 cm, Ø 34 cm. Tischlampe mit Schalenfuß und Säulenschaft sowie Volutenarme für die Elektrokerzen. Höhenverstellbarer Trapezschirm sowie Tragering Funktioniert, jünger verkabelt, einige geringe Alters-/Gebrauchsspuren.
BOELTZIG, Reinhold(1863 Berlin - 1941 ebd.) Liebespaar an der Quelle ("Eine Frage")Bronze schwarz patiniert, dunkelgrüne Marmor-Plinthe, ebonisierte Holzsäule mit Verzierungen. "Boelzig" bezeichnet mit Zählung "Nr. 14", Gießermarke "Akt=Ges-v. H. Gladenbeck & Sohn". H 37 / 40 cm + Säule 108 cm. Nacktes Paar in zarter Annäherung an einer Quelle. Einige Alters-/Gebrauchsspuren, lose Plinthe.Studierte an der Akademie Berlin bei Janensch und Breuer, 1930 Professorentitel.Literatur : Dressler.
HOLL, Albert(1890 Schwäbisch Gmünd - 1970 Ulm) Faunsknabe auf einer KugelBronze schwarz/grünlich patiniert, schwarz/grüner Marmor-Sockel. Bezeichnet. H 13,5 / 20,5 cm. Mit ausgebreiteten Armen vergnügt auf der Kugel sitzender Knabenakt Sockelverschraubung locker (Mutter fehlt). Schüler von Fritz Schmidt an der Kunstgewerbeschule München, studierte an der Akademie München bei Balthasar Schmitt und Hermann Hahn. Leiter der Bildhauerklasse an der Fachschule für Edelmetallgewerbe in Schwäbisch Gmünd.
IFFLAND, Franz(1862 - 1935) Frauenakt einer Aulos-SpielerinBronze patiniert, brauner Marmor-Rundsockel. Bezeichnet, Gießermarke "Akt:Ges. Gladenbeck Berlin". H 19 / 24 cm. Stehender Frauenakt beim Musizieren auf dem antiken Instrument Spielrohr etwas verbogen, 1 Spielrohr fehlt, einige wenige Alters-/Gebrauchsspuren. Bildhauer in Berlin. Literatur : Thieme/Becker.
Aufsatzvitrine im Barock-Stil2. Hälfte 19. Jh. Nussbaum furniert. Ca. 210 x 90 x 50 cm. Zierlicher Vitrinenschrank mit stiltypisch geschwungenem Korpus; 2-türiges Unterteil mit Schub, frontverglaster, 2-türiger Aufsatz mit Rocaillenbekrönung aus Schnitzwerk; dekoriert mit Maserfurnier und parkettierten Kassettenfüllungen, üppige Bronze-Applikationen; Vitrine mit 3 höhenverstellbaren Einlegeböden Leichte Alters-/Gebrauchsspuren. 1 Schlüssel.
Eleganter Kristall-Lüster im Empire-StilNach 1900. Bronze, Glasbehang. L ca. 100 cm, Ø ca. 42 cm. 4-flammige Deckenlampe mit Bronzegestell in klassizistischer Formensprache und üppigem Glasstabbehang, verziert mit Glasketten Leichte Alters-/Gebrauchsspuren, etliche Glasstäbe ergänzt. Elektrifiziert, Funktion nicht geprüft.
Jugendstil-Schale mit BronzemontierungWohl Glasfabrik Elisabeth, Pallme-König & Habel, Kosten bei Teplitz, 1900-1905. Böhmen. Grünes Glas mit einem dichten roten Fadennetz umsponnen, irisiert, Bronze. H 9 cm, Ø 17 cm. Flache Schale mit zehnfach gekniffenem Mündungsrand. Eingefasst in eine florale Bronzemontierung mit drei Füßen
Salon-Kommode mit Marmorplatte im Barock-StilWohl 20. Jh. Verschiedene Hölzer furniert und marketiert, rötlich-grauer Marmor. Ca. 66 x 82 x 38 cm. 2-schübige, stiltypisch geschwungene Kommode mit Marmorplatte, dekoriert mit üppigen Bronze-Applikationen und parkettierten Front- und Seitenteilen Leichte Alters-/Gebrauchsspuren. 1 Schlüssel.
BEETZ-CHARPENTIER, Elisa(1859 Schaerbeek - 1949 Neuilly-sur-Seine) Mädchen im KapuzenmantelBronze patiniert. "E. Béetz" bezeichnet, Gießermarke „L.V Deposee Bronze Garanti au Titre“ mit Nr. "4899", in der Sockelfront „Salon des Beaux Arts 1903“. H 44 cm. Im Regenmantel stehendes Mädchen Französische Bildhauerin, studierte an der Akademie Brüssel, Schülerin von Charpentier, den sie heiratete. Literatur : Vollmer.
Platte mit Damenbildnis im BronzerahmenMarke nicht erkennbar, 2. H. 19. Jh. Polychrome Malerei über Vordruck. 22 x 9 cm, im prunkvollen Bronze-Aufstellrahmen (32 x 22 cm). Rechteckige Platte mit dem Porträt einer sitzenden Dame mit rotem Umhang, nach einem Gemälde des italienischen Malers Palma il Vecchio (um 1480 - 1528)
POERTZEL, Otto(1876 Scheibe - 1963 Coburg) FrauenaktBronze goldbraun patiniert und goldbronziert, ovale Marmor-Plinthe. Bezeichnet mit Zusatz "Prof.". H 24 / 26 cm. Ausgelassen laufender Akt einer jungen Frau Goldbronzierung berieben, geringe Alters-/Gebrauchsspuren. Porzellanmodelleur und Bildhauer, studierte an der Akademie München, Schüler von Kurz und von Hildebrandt, seit 1900 freischaffend in Coburg tätig, 1913 Titular-Professor. Literatur : Thieme/Becker.
2 barocke Wandleuchter18. Jh. Bronze feuervergoldet, Schraubfassungen mit Papp-Kerzenhülsen. Gesamt 30 x 34 x 28 cm. 3-flammige Kerzenleuchter/Wandappliken mit Blatt-Wandhalterung und von zentraler Vase ausgehende 3 Volutenarme mit Blattbesatz sowie entsprechende Vasentüllen Nachträglich elektrifiziert.
Kommodensekretär im Barock-StilUm 1880/90. Nussbaum furniert und maserfurniert. Ca. 103 x 79 x 54 cm. Zierlicher Schreibschrank im Dresdener Barock-Stil mit 2-schübigem, geschwungenem Korpus mit schräger Schreibklappe; dekoriert mit gespiegeltem Maserfurnier und üppigen Bronze-Applikationen; innen Kabinettausstattung mit 7 kleinen Schüben und 1 offenen Fach Alters-/Gebrauchsspuren, kleine Furnierdefekte. 1 Schlüssel.
Dreipass-Salontisch mit BlumenmarketerieEnde 19. Jh. Nussbaum furniert und maserfurniert, verschiedene Hölzer marketiert. Ca. 73 x 43 x 46 cm. Zierlicher Beistelltisch mit dreipassig geformter Tischplatte und Sockeltablett, auf 3 leicht geschwungenen Beinen; reichlich dekoriert mit Bronze-Applikationen in barocker Formensprache und feiner Blumenmarketerie Leichte Alters-/Gebrauchsspuren, Furnier mit kleinen Defekten.
SONNENFELD, Gotthard(*1874 Berlin) BogenschützeBronze schwarz patiniert mit teils grünlichem Schimmer, schwarze Marmor-Plinthe. Bezeichnet. H 36 cm, gesamt 40 x 27 x 13 cm. Jugendlicher Akt eines Athleten mit Siegerbinde, der kraftvoll seinen Bogen aufspannt Patina teils stärker berieben. Studierte an der Akademie Berlin. Literatur : Thieme/Becker.
Große Bronzegruppe: Herkules und die kerynitische HirschkuhBronze patiniert, weiß/grüner Marmor-Sockel. Undeutlich bezeichnet. H 57 cm, gesamt 63 x 72 x 36 cm. Nach dem großen Bronze-Original im Museum von Palermo gestalteter nackter Heros der Antike im Kampf mit dem Hirsch. Die römische Kopie wohl eines griechischen Originales in Palermo diente ursprünglich als Brunnenfigur Reparaturen teils von der Gießerei, geringe Haarrisse, verputzte Patina, Sockel ergänzt und locker.
Seltenes Schiff als Tischuhr SegerporzellanKPM Berlin. Zeptermarke "SgrP" für Segerporzellan, ab 1882. Seger Weichporzellan, seladonfarbige und unterglasurblaue Glasur, Goldstaffage; Bronze. H 50,5 cm. Porzellanwellensockel, darauf ein Bronzeschiff mit Porzellansegeln, das große Segel dabei mit Ziffernblatt mit römischen Ziffern und zwei durchbrochenen Zeigern. "Lenzkirch A. G. U." gemarktes Werk, Nr. "594380" um 1880, mit Zylinderhemmung und Halbstundenschlag auf Glocke, läuft kurz an Gold des Ziffernblattes berieben. 1 Schlüssel.
Neobarock-KonsoltischWohl Ende 19. Jh. Nussbaum furniert. Ca. 78 x 89 x 42 cm, ausgeklappt ca. 76 x 86 x 90 cm. Geschwungener Konsoltisch in barocker Formensprache, mit passender, aufgelegter Klappplatte (Gestell nur für 1 Platte vorgesehen); dekoriert mit Rocaillen-Bronze-Applikationen Alters-/Gebrauchsspuren, Platte lose und etwas verzogen.
Bergère mit Bronze-Greifen im Empire-StilWohl 2. Hälfte 19. Jh. Nussbaum massiv. H 84 cm, B 70 cm, Sitzhöhe ca. 45 cm. Ausladender, voll gepolsterter Sessel, dekoriert mit massiven Bronze-Greifen an den Seitenteilen, Bronze-Palmettenblatt und Bronze-Tatzen an den Vorderbeinen; rosafarbener Bezug mit Floralmuster Restaurierungs- und reinigungsbedürftig. Provenienz : Aus süddeutschem Adelshaushalt.
Scheibenleuchter16. Jh(?).Bronze, im Wachsteller mit Messingnieten befestigte Eisenplatte, mit Eisennieten befestigter Eisendorn, Messing-Einlageblech. H 41,5 cm (ohne Dorn). Massiv gegossener, großer Kerzenleuchter mit 3 Wirteln am Schaft Wachsteller verbogen, sonst wenige Alters-/Gebrauchsspuren.
PILET, Léon(1840 - 1916) GänsehirtinBronze patiniert. Bezeichnet. 23 x 23 x 10 cm. Während das "Gänseliesel" Garben in ihrer Schürze trägt, treibt sie die beiden Gänse voran Patina kaum berieben. Bildhauer und Medailleur in Paris, Schüler von Toussaint, beschickte den Salon 1861 - 1914. Literatur : Thieme/Becker.
An Indian Koyilandy or Malabar coconut, wood, bronze and inlaid brass Hookah base and stem - nargile, probably 19th century, the oviform body incorporating a coconut to the central section, having brass pierced and overlay foliate and fish decoration throughout, the stem in wood veneered in white metal with pierced geometric decoration. Raised on a domed circular base on four legs. It comes with a pierced tray to the top, two detachable hooks to hang the hoses and two hoses covered in velvet. H140cm, W30cm.
Denis Mitchell (British, 1912-1993)Cerrito signed with initials, titled and numbered 'CERRITO/No.1/DAM (on the base)bronze with a green patina, part polished, on a slate base66.7 cm. (26 1/4 in.) high (including base)Conceived in 1971, in an edition of 7Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Marjorie Parr Galleries, Denis Mitchell: Recent Sculpture 1969-71, 7-30 October 1971, cat.no.16 (another cast)St Ives, Penwith Gallery, 1971 (catalogue not traced, another cast)Oxford, Oxford Gallery, 1974 (catalogue not traced, another cast)St Ives, Wills Lane Gallery, 1974 (catalogue not traced, another cast)Plymouth, City Art Gallery, Alexander Mackenzie, Denis Mitchell, John Wells, 1 February-2 March 1975, cat.no.31 (another cast)Penzance, Newlyn Orion Gallery, 1976 (catalogue not traced, another cast)Bath, Festival Gallery, Denis Mitchell, April 1978, cat.no.26 (another cast)Swansea, Glynn Vivian Art Gallery, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, cat.no.26 (another cast)London, Berkeley Gallery, 1989London, Gillian Jason Gallery, Denis Mitchell: A Retrospective: Sculptures 1951-1990, 11 July-10 August 1990, cat.no.23 (another cast)LiteratureGeorge Dannatt, Festival Exhibition of Sculpture by Denis Mitchell, Welsh Arts Council, Cardiff, 1979, cat.no.26 (ill.b&w, 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
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure numbered '5/7' (on the top of the base); stamped with foundry mark 'C. VALSUANI CIRE PERDUE' (on the side of the base)bronze with a brown patina on a slate base15.2 cm. (6 in.) long (excluding the base)Conceived in 1945Footnotes:ProvenanceWith Thomas Gibson Fine Art, prior to 1997, where acquired byPrivate Collection, U.K.ExhibitedStockholm, Samlaren Gallery, Henry Moore: Skulptur, Teckningar, 1952 (another cast)Stockholm, Akademien, Henry Moore, 1952, cat.no.121 (another cast)LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of World War II in 1945 as a preparatory study for the 30 inch Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell comments 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177).Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.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
Henri Gaudier-Brzeska (French, 1891-1915)Firebird (The Russian Ballet) signed 'Gaudier/Brzeska' (on the base)bronze with a brown patina63 cm. (24 3/4 in.) highClay conceived in 1912, this cast from the later bronze edition of 10Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Royal Albert Hall, Allied Artists Association, July 1913, cat.no.1212 (another cast)London, Whitechapel Art Gallery, Twentieth Century Art: A Review of Modern Movements, 8 May-20 June 1914, cat.no.179 (another cast)London, Leicester Galleries, A Memorial Exhibition of the Work of Henri Gaudier-Brzeska, May-June 1918, cat.no.2 (another cast)London, Mercury Gallery, 1987, cat.no.5 (as L'oiseau de Feu, another cast)LiteratureHarold Stanley Ede, Savage Messiah, William Heinemann, London, 1931, pp.156-57Horace Brodsky, Henri Gaudier-Brzeska, Faber and Faber, London, 1932, p.36 (ill., another cast)Mervyn Levy, Henri Gaudier-Brzeska: Drawings and Sculpture, October House, New York, 1965, pl.73 (ill., another cast)Roger Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska, Phaidon Press, Oxford, 1978, cat.no.14Evelyn Silber and David Finn, Gaudier-Brzeska, Thames and Hudson, London, 1996, cat.no.18 (ill.b&w, another cast)Soon after his move to London from his birthplace and hometown of Saint-Jean-de-Braye near Orléans, France, in 1912, Gaudier-Brzeska received a commission from Julian Lousada, an avid art collector and friend of the artist. Gaudier-Brzeska was to produce a series of work inspired by the Ballet Russe production of Stravinsky's Firebird, which was to be performed in London for the first time from June to August that year. The work depicts the moment when Prince Ivan Tsarevitch, portrayed by dancer Adolph Bolm, captures the eponymous Firebird, portrayed by Tamara Karsavina. Gaudier-Brzeska produced two plaster casts from the original clay sculpture. Lousada was given one of the plasters, and paid £20 for a bronze to be cast from it, the highest price ever paid for a work of Gaudier-Brzeska's during his lifetime. This cast was sadly destroyed by bombing during the Blitz, and ten casts were subsequently produced from the surviving plaster.For further information on this lot please visit Bonhams.com
Dame Elisabeth Frink R.A. (British, 1930-1993)Man with Goggles signed and numbered 'Frink 0/0' (on the base)bronze with a dark brown patina108.3 cm. (42 5/8 in.) highConceived in 1969, the present work is an Artist's cast from the edition of 6Footnotes:ProvenanceWith Waddington Galleries, London, 7 December 1979, where acquired byThe Phyllis Newman and Adolph Green Collection, thence by family descentPrivate Collection, U.S.A.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Work, 2-23 December 1969 (another cast)London, Waddington Galleries, Elisabeth Frink: Sculpture, 11 October-4 November 1972 (another cast)Washington, The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast)LiteratureEdwin Mullins, The Art of Elisabeth Frink, Lund Humphries, London, 1972, cat.no.112 (ill.b&w, another cast)Jill Willder (ed.), Elisabeth Frink, Sculpture, Catalogue Raisonné, Harpvale Press, Salisbury, 1984, p.176, cat.no.185 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.117, cat.no.FCR212 (col.ill., another cast)Frink's celebrated goggle men series refers to a select group of works dating from 1967-69. The group consists of several bust format heads, and five striding figures. The goggle heads take the role within Frink's work as aggressors, their emotion shielded from the viewer's gaze by their highly polished eyewear. In the standing variants however, Frink affords the figure a greater degree of emotion, and as such, humanity. In one, folded arms suggest pensiveness. In another, a forward leaning body and fleetness of foot, renders the figure hurried, fearful even.Standing at over a meter high, the present work represents the largest of the goggle men. Whilst slight in detail, the design is highly eloquent – an ability which few mastered as effectively as Frink. She presents the figure without arms, referencing classical sculpture, and the weight is borne by a single powerful leg with the other foot raised in anticipation of a purposeful forward stride. The posture is erect, the chest raised, and the head turned in a glance that is seemingly laser focused. Within his space the figure, like Frink, is in complete control.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
Dame Elisabeth Frink R.A. (British, 1930-1993)Lying Down Horse signed and numbered 'Frink 4/6' (on the left flank) and stamped with foundry stamp (on the underside)bronze with a dark brown patina43 cm. (17 in.) longConceived in 1975Footnotes:ProvenanceWith Beaux Arts, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureJill Willder (ed.), Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.184-5, cat.no.217 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.129, cat.no.FCR245 (col.ill., another cast)Amongst the most familiar of Frink's motifs, the examination of horses dates back to her earliest works of the 1950s, however it is the equine subjects which dominated her output between 1969 and 1985 that receive the highest acclaim.'This is Frink at her most relaxed. She knew everything about horses, and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head.' (Julian Spalding, in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Following a move to the south of France in 1967 Frink became fascinated by the Camargue horses, a wild and ancient breed indigenous to the region. These horses suited her purpose far more than those she had previously been familiar with as a keen rider in her youth. She elaborates; 'The horse sculptures are nothing to do with the horse you see here in England – the hunter, the show horse, the race horse. They're much more to do with the ancient spirit of the horse and with 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 (Edward Lucie-Smith and Elisabeth Frink, Frink, A Portrait, Bloomsbury, London, 1994, p.50).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
Lynn Chadwick R.A. (British, 1914-2003)Sitting Figures in Robes I stamped with monogram and numbered '787S 2/9' (on the underside of the female figure's cloak); further stamped with monogram and numbered '787 2/9' (on the underside of the male figure's cloak)bronze with a black patina and polished faces, seated on a bronze base (in three parts)26.7 cm. (10 1/2 in.) highConceived in 1980, and cast by Pangolin Editions in 1985Footnotes:ProvenanceWith Osborne Samuel, London, where acquired byPrivate Collection, from whom acquired by the present owner Private Collection, South AfricaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.326, cat.no.787SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.334, cat.no.787SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.341, cat.no.787SCloaked, reclining, winged, standing, walking, watching and of course, as in the present example, sitting – the theme of the couple preoccupied Lynn Chadwick throughout his career. The sheer number of different forms they took over a period of five decades clearly demonstrates the enduring hold they had on the artist.Mobiles and beasts constructed of welded iron, rods and plaster in the early 1950s soon gave way to the first figures. Initially, they emerged all spindly legs and small, heraldic heads, maintaining an architectural feel. But in the following years the now familiar wings and square flat heads appeared, progressing later into the first seated works of the 1960s. Moving through the decade, the concept was explored further - certain body parts became polished, heads grew taller and multi-faceted, trunks and legs thicker. Later, in the early 1970s, a clear sexual differentiation was established – square head for male, triangular for female.Sitting Figures in Robes I dates from 1980 by which point, Chadwick was truly master of his chosen subject. Here, the couple sit together resting quietly, separate from one other and their seat. Their dignified pose is supported by the cloaks they wear, anchoring them to ground and the faces are, as always, blank, with the artist once declaring 'No expression is an expression' (Lynn Chadwick: The Couple, Exh.cat., Pangolin London, 2011, p.3). The body language is comfortable with the figure's legs at ease and their cloaks spilling over the edges of their seat, the overall impression being one of peace and content.We are grateful to the Artist's Estate for their assistance in cataloguing this work.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
DOWNING (EDITH)Boy with Cherry 'A Sketch', plaster, stamped with signature and date 'A Sketch/ Edith Downing/ 1907', old paper label affixed to base 'work of Edith Downing which she sold in aid of Suffragette cause', cherry and stalk missing and replaced with wooden bead, repairs to left leg and foot, repairs and small losses to plinth, areas of rubbing, c.230 high x 95mm., 1907Footnotes:The sculptor and WSPU activist Edith Downing (1857-1931) studied at the South Kensington School and the Slade and exhibited at the Royal Academy (where she was a regular contributor), the Society of Women Artists, the Royal Glasgow Institute and the Paris Salon. She collaborated with other artists such as Marion Wallace-Dunlop on numerous processions and performances and sold several artworks in aid of WSPU funds, including the present figure, a statuette of Peter Pan (1908) and figures of Christabel Pankhurst and Annie Kenney which were sold at the Prince's Skating Rink Exhibition of 1909 at 5 guineas and 2 guineas respectively. The present small plaster sculpture is a version of Downing's bronze Boy with Cherry, dating from 1907, which was donated by her to the National Museum of Wales in 1930 (Accession Number A296). The Museum holds several of her pieces including a life-size figure of Avarice, whilst her largest commission was a marble altarpiece including 32 alabaster figures for St Peter's Church, Wormbridge, Herefordshire.Provenance: The Phyllis & Jim Bratt Woman's Suffrage Collection.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
Loading...
