André Chenier. Les Bucoliques. Publiés d'après les manuscrits originals dans un ordre nouveau, avec une préface et des notes, par José Maria de Heredia. Mit 12 Orig.-Lithographien von Fantin-Latour sowie 21 Vignetten von G. S. de Foncesca, ferner mit zusätzlich 44 Lithographien der Extrasuite. Paris, Charles Meunier 1905. 4°. Marmorierter Orig.-Kalblederband mit eingelassener Bronzeplakette, goldgeprägter Rückenvignette in Form einer Lyra mit Palmzweig sowie goldgeprägtem Rückentitel und Buntpapiervorsätzen (Orig.-Umschläge beigebunden). Mahé S. 84. - Carteret IV 102: "Rare ouvrage coté, illustré par ce grand artiste". - Monod 2724. - Prachtvolle Ausgabe mit den zart erotischen Illustrationen von Henri Fantin-Latour. 1 von 150 nummerierten Exemplaren auf "papier vélin du Marais", mit zwei Extrasuiten in Schwarz auf dünnem Japan und Bistre auf China. "Rare ouvrage coté, illustré par ce grand artiste" (Mahé 84). Bemerkenswert ist der Verlegereinband von Charles Meunier, einem der großen Meisterbuchbinder des französischen Jugendstils: Einband mit eingelassener Bronzeplakette, die das reduzierte Modell für ein Denkmal der "Muse de Chénier" darstellt, welches durch den Bildhauer Denis Puech errichtet werden sollte. With 12 original lithographs by Fantin-Latour as well as 21 vignettes by G. S. de Foncesca, further with additional 44 lithographs of the extra suite. Paris, Charles Meunier 1905. 4° marbled original calfskin ribbon with embedded bronze plaque, gold embossed back vignette in form of a lyre with palm branch as well as gold embossed title on the back and coloured paper endpapers (original envelopes enclosed). Splendid edition with the delicately erotic illustrations by Henri Fantin-Latour. 1 of 150 numbered copies on "papier vélin du Marais", with two extra suites in black on thin Japan and Bistre on China. "Rare ouvrage coté, illustré par ce grand artiste" (Mahé 84). Remarkable is the publisher's cover by Charles Meunier, one of the great master bookbinders of French Art Nouveau: cover with embedded bronze plaque representing the reduced model for a monument to the "Muse de Chénier", which was to be erected by the sculptor Denis Puech.
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Sammlung von 10 Katalogen von belgischen und französischen Metallgießereien. Um 1910-1920. Mit zahlreichen Abbildungen von dekorativen Metallarbeiten. - Enthält: Fournier, Bronzier. Album N° 8. Paris, Juni 1914. - A. Emery. Quincailleries pour Meubles. Paris, um 1920. - J. Vervloet-Faes Bronzes. Catalogue B. Brüssel, um 1920. - Ateliers et Fonderies Victor de Spirlet. Liège, um 1920. - Grand Magasins Vanderborght Frères. Tout ce qui concerne la Quincaillerie d'Ameublement. Brüssel, um 1920. - Fonderie de Cuivre Libon & Laval. Cuiverie d'Ameublement, Pièces Coulées et Estampes. Liège, um 1920. - Société Metallurgique de Baume. Les Bronzes de Bâtiments des Usines. La Louvière, um 1920. - Christofle & Cie. Ornements en Bronze Galvanique. Paris, um 1915. (mit größeren Defekten) - G.B. & J.C. Dessins d'Ornements pour Appartements. (mit größerem Wasserschaden) - Plomdeur, Entreprises générales de Bronze et Serrureries pour Bâtiments. Liège, um 1926. - Nicht eingehend kollationiert. Papierbedingt gebräunt. Einbände meist mit Defekten. - Dabei: Ca. 50 lose Blätter von Jaquet, Graveur et Estampeur. Paris.
Skulpturen - - Kowalczewski, Karl P.. Fischer sein Netz einziehend. Um 1906. Bronze mit braun-schwarzer Patina auf Marmorsockel. H 39 cm (ohne Sockel). An der Pinthe signiert mit Karl Kowalczewski. Berman IV, 3300. - Der Berliner Bildhauer studierte an der Preußischen Akademie der Künste und war Meisterschüler von Ludwig Manzel (1858-1936). - Mamorsockel an einer Kante mit Fehlstelle.
§ Henry Moore O.M.,C.H (British 1898-1986) Figurine, 1983 5/9, signed and numbered, bronze(the bronze 10cm high, 5cm wide (4in high, 2in wide))Provenance: Christies Contemporary Art Galleries, London, October 1985; Private Collection, USA; Sothebys, New York, 7 December 2015, Lot 66; Private Collection, UK.Footnote: Literature: Bowness, Alan (ed.), Henry Moore: Complete Sculpture, 1980-86, vol. 6, London 1986, p.54, cat. no. 884 (another cast illustrated).
§ Reg Butler (British 1913-1981) Three Quarter Figure II, 1966 4/8, stamped 'RB', numbered and with 'Valsuani' foundry stamp, patinated bronze(57cm x 8cm x 8.2cm (22.5in x 3.15in x 3.25in))Provenance: Estate of the Artist; Private Collection, Toronto; Gimpel Fils, London.Footnote: Exhibited: Tate Gallery, London, Reg Butler 'Memorial Exhibition', November 1983 - January 1984, cat. no. 68 (another cast); Gimpel Fils, London, Reg Butler, 1986, no. 36 (another cast). Literature: Garlake, Margaret, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, London: 2006, p.168, no.247 (another cast illustrated).
§ Robert Adams (British 1917-1984) Untitled, circa 1973 bronze, unique(40cm x 20cm x 8cm (15.75in x 7.8in x 3in))Provenance: Estate of the artist; Gimpel Fils, London; Private Collection, London.Footnote: Sold together with a facsimile copy of a certificate of authenticity from Gimpel Fils, 2018.
§ Hubert Dalwood (British 1924-1976) Small Double Tower, 1966 edition of 6, opus 101, silvered bronze(20cm high, 10.5cm wide (7.9in high, 4.1in wide))Provenance: Estate of the Artist; Private Collection; Gimpel Fils, London.Footnote: Exhibited: Gimpel Fils, London, Hubert Dalwood, 1967, no.14; Gimpel Fils, London, Hubert Dalwood, August 1969, cat. no. 17, illustrated; Sheffield University, Sheffield, 1970; Angela Flowers Gallery, London, Christmas Exhibition, 1976; Haywood Gallery, London, Hubert Dalwood, 1979, exhibition no. 51; Arcade Gallery, Harrogate, 1983. Literature: Stephens, Christopher, The Sculpture of Hubert Dalwood, The Henry Moore Foundation in association with Lund Humphries, London: 1999, p.129, no.180, fig.140 (illustrated).
§ Dame Elisabeth Frink (British 1930-1993) Fallen Man, 1960 1/6, signed and numbered, bronze with dark brown patina(16cm high, 60cm long (6.25in high, 23.6in long))Provenance: Private Collection, London.Footnote: Literature: Ratuszniak, A. (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.71, cat. no. FCR79 (another cast illustrated). 'The very fact of someone falling in space makes me feel nervous. I very often dream of falling through space myself. It becomes a nightmare and is very frightening. So it is always with me, this particular fear, which I think is a good thing because it starts off sculpture; it gives a sense of urgency which is important to me.’ (Elisabeth Frink quoted by Huw Wheldon, Monitor: An Anthology, Macdonald, London, 1962. p. 28.) Elisabeth Frink’s Fallen Man is part of a highly-important theme in her practice, in which her childhood experience of World War Two, fascination with the nude male figure and existential concerns about mankind are brought together. Frink was nine years old when war was declared. Her father was a cavalry officer in the British Army and served abroad for most of the conflict. Much has been made of Frink’s time in Suffolk near to Bomber Command air-bases during this period. As she explained: ‘there was a whole bunch of very jolly Polish airmen. They’d go off in their flying machines – and sometimes they got killed. We were right next door to an operational aerodrome and sometimes we’d see the planes coming home on fire.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsbury, London, 1994, p.15). Many works of the early 1960s explored the themes of men in flight, men in space, spinning, falling and fallen men and eventually bird men, through which Frink explored the concept of men at war. Reviewing them later in her career, Frink declared: 'These sculptures were the nearest I got at that time to subjective ideas of the concept of a man involved in some kind of activity other than just being. So my earlier figures were not at all sensuous; they were too much involved with fractured wings or the debris of war and heroics. By this last phrase I mean individual courage.’ (as quoted in Ratuszniak, A. (ed.), op.cit., p. 72). In Fallen Man, the anonymous figure is depicted without stand or plinth. The point of direct contact between the work and the surface on which it is placed is key to conveying its concept. Facial features are suggested in the outsized head, atop the splayed and disfigured body. A sense of trauma, pathos and vulnerability is enhanced by the rough handling of the plaster from which it was cast. Edward Mullins has written about further sources of inspiration for this area of exploration: ‘The original impulse, in fact, was to make sculpture of a figure falling from space. The source here is dual. Since a child she has experienced dreams of herself falling and the sensation remains a powerful one in her imagination. More specifically, during the late 50’s she came across photographs of the French bird-man, Valentin, depicting him before he jumped (eventually he jumped to his death) helmeted and goggled and decked out in his special flying-suit with voluminous wings. This is the principal visual source of the various Bird-Men.’ (Edward Mullions, ‘Introduction’, The Art of Elisabeth Frink, Lund Humphries, London, 1972, unpaginated). Frink’s work defies precise interpretation. She declared: ‘what I’m doing is trying to set up a kind of encounter with the spectator, a dialogue between my sculptures and the public. People have to add part of themselves to make it work; they have to look into it as well as at it.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, op.cit., p. 64).
§ Lynn Chadwick C.B.E. R.A. (British 1914-2003) Maquette for Stranger, 1961 6/6, model 340, signed and numbered, bronze with green / brown patina(31.5cm high, 26.3cm wide (12.3in high, 10.3in wide))Provenance: Sotheby's, New York, 1 July 1991, Lot 125; Private Collection, London.Footnote: Literature: Bowness, A., Lynn Chadwick, Methuen, London, 1962, unpaginated (another cast illustrated); Farr, D. and É. Chadwick, Lynn Chadwick Sculptor: With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.192, no.340 (another cast illustrated). The subject of the ‘Stranger’ occupied Chadwick over the period from 1954 until 1969, in a formal theme which also informed the contemporary ‘Winged Figure’ works. As Alan Bowness explained in his 1962 monograph about the artist, the stimulus was Chadwick’s controversial commission from the Air League of the British Empire in 1957, to create a memorial to the 1919 double crossing of the Atlantic by the airship R34. Having served as a pilot in the Fleet Air Arm of the Royal Navy during World War Two, Chadwick had a deeply personal experience of flight and link to the concept of a winged figure, itself embedded in the myth of Icarus. In Maquette for Stranger, the power of the anonymous figure’s torso and spread-out winged arms is contradicted by its tapering, spindly legs. It has a monumentality and stillness which yet suggests strength in movement. As Bowness continued ‘the Strangers and Watchers seem to be tensed: waiting, aware that something is going to happen…the tensions arise directly from the sculptor’s treatment of surface. His technique leads him to build an armature, constructed from straight rods, and this becomes the skin as well as the bone of the figure. Everything is thus brought on to the surface, and the network of rigid lines and absence of curves is somehow expressive of a high pitch of nervous intensity, possessed by these strange immobile creatures.’ (Bowness, op.cit., unpaginated). Such was the significance of Maquette for Stranger that a cast of it was selected by the British Council for inclusion in the VI Bienal de São Paulo of 1961, shortly after its creation. Herbert Read wrote about the sculptor’s contribution to the British presentation: ‘Lynn Chadwick’s vision has penetrated a psychic region where man is a tensed geometrical aeronaut, watching the skies, wings folded or outspread for flight. Such is the new image of man, the archetype of a space age.’ (Herbert Read, ‘Lynn Chadwick’, VI Bienal de São Paulo, exh.cat., 1961 quoted in Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, 2014, p. 115). Chadwick was declared hors concours, or ‘beyond competition’ at the biennial, the first time a British artist had been thus honoured.
§ William Turnbull (British 1922-2012) Figure, 1984 4/6, monogrammed, numbered and dated, bronze(78.5cm high, 16cm wide, 15cm deep (31in high, 6.25in wide, 6in deep))Footnote: Literature: Davidson, Amanda A., The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, cat. no. 228, illustrated p.164 (another cast illustrated). Exhibited: London, Waddington Galleries, William Turnbull, 1998, cat. no. 9 (another cast). In its suggestion of the human figure in the simplest possible form, Figure of 1984 simultaneously references some of Turnbull’s works of the late 1940s and early 1950s whilst linking to further exploration of the theme in sculptures such as Figure 2 and Small Female Figure of the early 1990s. Indeed, Turnbull returned to the human form throughout his long and distinguished career, through materials including plaster, bronze and steel (sometimes painted), with degrees of representation and abstraction ebbing and flowing over the decades. In this work, an elongated torso is extended to incorporate legs and neck, from which open, curved arms protrude. The sculptor’s touch is clear in pronounced modelling throughout, with suggested facial features on a head-like form. Although at first glance a work based on a frontal view, the viewer cannot comprehend the full scope of its three dimensions without moving around it, to see the extent of the arms’ reach and the rhythm, open-ness and implied welcome of their stance. The work’s various profiles are as important as its physical form. Figure illustrates Patrick Elliott’s summation of Turnbull’s practice, namely that ‘his work invariably combined formal simplicity with surface complexity along with poise and balance: these remained the principal characteristics of his entire oeuvre.’ (Patrick Elliott, ‘Turnbull, William [Bill] (1922-2012)’, Oxford Dictionary of National Biography, on-line version of 1 January 2017, accessed 25 March 2022). Turnbull combined ambiguity with open-ended intention in much of his work, by which he hoped to stimulate multiple references, ideas and connections when it was experienced. As Amanda A. Davidson concluded in her 2005 catalogue raisonné of Turnbull’s sculpture ‘the conversation between the artist and their materials inevitably comes to an end when the process of making the work is completed. However, the conversation between the viewers and the work never ceases.’ (Amanda A. Davidson, op.cit., p. 74).
§ Sir Jacob Epstein K.B.E. (British 1880-1959) First Portait of Kitty (with Curls), conceived 1944 Bronze with brown patina(37cm high (14.5in high) (excluding base))Provenance: The Estate of Dr Renate Davis; Private Collection, UK.Footnote: Literature: Silber, Evelyn, The Sculpture of Epstein, Phaidon, Oxford, 1986, p.195, cat. no. 356 (plaster cast illustrated). Once established in his career, Jacob Epstein was frequently commissioned to create portrait busts. Subsequently, they represent a significant proportion of his output. According to biographer June Rose he would first meticulously study his subject from all angles, “noting the shape of the skull, the relation of the features to each other and to the whole, and the dissimilarity between the two sides of the face.” He had a tremendous aptitude for conveying an accurate mental as well as physiological likeness. Since his more experimental beginnings, Epstein had been regarded as a member of the avant-garde and, as such, opposed to the strictures placed upon art practise by the traditional institutions. This cemented his popularity among more liberal patrons. One such client was Ellen Jansen, a poet and member of a bohemian American set, who commissioned the bust of herself in 1931. She married the theatrical producer Maurice Browne, a founder of the Chicago branch of the Little Theatre. This constituted a movement which, in reaction to the increasing popularity of cinema, aimed to produce a more intimate “reform-minded” theatrical experience. Epstein counters her sharp ‘Louise Brooks’ bob with a serene smile. This remains one of the few busts he created where his sitter displays anything other than a rather enigmatic, reflective expression. Epstein also depicted his family on several occasions. This bust of his daughter Kitty (with curls) was conceived in 1944 and was the first of three he created in her likeness. She was the daughter of his long-term mistress and latterly second wife Kathleen Garman who, famously, was shot in the shoulder with a pearl-handled pistol by his first wife Margaret. Kitty herself went on to become the artist Lucien Freud’s first wife, and was the muse behind several of his seminal early works such as ‘Girl with Kitten’ and ‘Girl with a White Dog’.
COLIN PEARSON (1923-2007); a porcelain winged bowl covered in bronze glaze, impressed mark, diameter 12cm. (D) Provenance: Alan & Pat Firth collection; purchased from Godfrey & Watt, Harrogate, 1994.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
HUGH SCOTT (born 1949); a stoneware twin handled bowl covered in polychrome glazes with bronze rim, painted HS mark and label, diameter 23cm (including handles). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
LUCIE RIE (1902-1995); a stoneware bud vase covered in thick bronze glaze, impressed LR mark, height 11cm. (D) Provenance: Purchased from Oxford Ceramics Gallery, 2008. Originally owned by Rie's hairdresser.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
PAUL BRADLEY; a pair of stoneware mugs covered in white glaze with bronze rims, impressed marks, height 9.5cm, and a teapot with cane handle by Melanie Brown, impressed M mark (3). (D)Additional InformationStable hairline to one mug extending 6cm from rim, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
ROBIN WELCH (1936-2019); a stoneware cylindrical vessel covered in white glaze with bronze rim and black and white decoration, impressed RW mark, height 20.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
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