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Lot 736
Selection of interesting items to include pair of Persian silver engraved vases with gilt highlighted figural panels, stamped marks, 5.5" high, 8.1 oz t; together with a silver plated covered 'Eaude Cologne' glass scent bottle, small repousse shaped trinket box, silver collared conical glass jug with stopper, half leather jacket hip flask, assorted bronze medallions primarily prizes for horticultural achievement also gilt metal fob seal and seal on turned wooden handle
Lot 850
HELSON, PORTHOLE A BRONZE AND TITANIUM WRIST WATCH WITH DATE, NO. 1467, CIRCA 2014 Movement: Cal. ETA 2824-2, automatic, 25 jewels Case: Bronze case, screw down crown, screw down titanium case back Dial: Black Strap: Cuda black rubber strap with Helson bronze pin buckle Size: 44mm Signed: Dial, movement, buckle Accessories: Helson box, warranty card, strap changing tool Condition Report: Movement is currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition. Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Crown screws down and has light scratches when viewed under a 4x loupe. Strap appears to be in good condition with minor marks and creasing. Buckle appears to be in good condition with minor marks and scratches when viewed under a 4x loupe. This lot comes with a box and papers dated . Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 473
Similar album of QE2 coinage incl. 4 crowns, set of half crowns (1953 -1967), set of florins (1953 - 1967), set of English and Scottish reverse shilling pieces from (1953 - 1966), silver sixpences and bronze threepenny pieces each from (1953 - 1967), copper penny pieces (1953 - 1967), decimal coinage to mid 1970's, further Elizabethan crowns and a George III cartwheel two pence piece (1767)
Lot 256
A large and impressive Warwick style bronze vase/jardiniere, of oval form with removable brass liner, the gadrooned rim over a high-relief patinated bronze frieze depicting Classical figures, the twin handles formed as pipe-playing children, on a stepped oval base, 39 cm high x 43 cm wide.Condition report: Good overal condition with no apparent damage or repair. Some signs of use, with surface marks commensurate with age.
Lot 156
A Persian book page, the text with small illuminations, within a gilt border, 13cm x 8cm, a Persian copper bowl with calligraphic band above panels of flowers, with traces of pigment throughout, 21.5cm dia, a silvr calligraphic stand and bowl; and a Peruvian conquistador cast bronze stirrup, 27cm
Lot 105
A Chinese bronze censer, Qing, 19th century, with loop handles above a slightly compressed body on three short feet, poorly cast Xuande mark, 635g, internal diameter 10.5cm, 6.5cm high excluding handles,Condition report: Some dents to outer side, as shown in images. No major damage or repairs. General surface wear throughout commensurate with age and use.
Lot 147
An Indonesian bronze jar and cover, 19th century, with an all over patination of various green hues, the cover formed as a man's head with straight combed hair and large eyes continuing to form the rounded nose, above a stylised foliate rim, the bulbous body with a tall neck embossed with a long and a short arm, 28cm highPurchased in Bali
Lot 258
A pair of 19th century patinated bronze figures of Mercury and Fortuna, each standing aloft a gust of wind from the mouth of Zephyr, on a stepped circular base, 48 cm high.Qty: 2Condition report: Mercury figure is missing his staff, and has had a repair to his right arm, at the shoulder. Some light rubbing in places, but otherwise good.
Lot 17
Johnny Weissmuller signed 7x5 sepia vintage Tarzan photo. Janos (Johann) Peter Weissmuller (June 2, 1904 - January 20, 1984) was an American competitive swimmer, Olympian, and actor. He was known for playing Edgar Rice Burroughs' Tarzan in Tarzan the Ape Man (1932 version), five sequels produced by MGM, and six additional films by RKO. Weissmuller was also known for having one of the best competitive swimming records of the 20th century. Weissmuller set numerous world records alongside winning five gold medals in the Olympics. He won the 100m freestyle and the 4 × 200 m relay team event in 1924 at the Paris Games and again in 1928 at the Amsterdam Games. Gold was also brought home by Weissmuller in the 400m freestyle, as well as a bronze medal in the water polo competition in Paris. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 87FS
Make & Model: BMW X1 XDrive 20D XlineDate of Reg: SK63 RMXColour: Bronzecc: 1995MoT: 22-11-2021Fuel Type: DIESELMileage: 96kTransmission: MANUALSummary: Two registered keepers with the last keeper since Novm,eber 2016. Three service stampsVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=150631
Lot 32
Dame Elisabeth Frink R.A. (British, 1930-1993)Soldier's Head II signed and numbered 'Frink/4/6' (on the back of the neck)bronze with a dark brown patina37.5 cm. (14 3/4 in.) highConceived in 1965Footnotes:ProvenanceWith Waddington Galleries, Canada, where purchased by the family of the present owner, 16 June 1967Private Collection, New YorkExhibitedLondon, Waddington Galleries, Elisabeth Frink, 1965 (another cast)London, Battersea Park, Sculpture in Battersea Park, May-September 1966 (another cast)London, Waddington Galleries, Elisabeth Frink: Sculpture and Prints and drawings from Chaucer, 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-25 March 1985, cat.no.33 (another cast)London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast)LiteratureBryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.162-3, cat.no.118 (ill.b&w, another cast)Sarah Kent (ed.), Elisabeth Frink, Sculpture and Drawings 1952-1984, Royal Academy of Arts, London, 1985, p.13, cat.no.33 (another cast)Catalogue of the Ingram Collection, The Lightbox, 2009, p.40 (col.ill., another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.95, cat.no.FCR142 (col.ill., another cast)Frink comments; 'In the mid sixties I made a series of soldier's heads which were rather brutal. They had pigtails. I like the idea of the head being terminated in some kind of ribbon at the back. The pigtail in my sculptures was rather like a cardinal's ribbon. I was married to a man, Edward Pool, whose head was rather like this – no pigtail, but bearded, a fine head – and I incorporated his beard into the shape of a head so each sculpture, indirectly based on this man, had a rather massive jaw.' (in Jill Wilder (ed.), Elisabeth Frink Sculpture; Catalogue Raisonné, Harpvale, London, 1984, p.37). Edward (or Ted) Pool was Frink's second husband whose severe war wounds acted as a constant reminder of the violence of her times. Anti-militant, Frink engaged her sculpture to combat ideas of celebrating war and violence. The soldier is not presented as a functioning military machine but a disfigured, stupefied and helpless being. Conceived in her most active year, Soldier's Head II is an early example of Frink's use of the form of the head as a 'vehicle for emotion' and would receive early praise with Edward Mullins declaring; 'These blunt representations of the hireling thug are in my view her most interesting yet' (Edward Mullins, 'Grown-Up Prodigies', The Sunday Telegraph, 5 December, 1965, p.12). Themes first explored in the Soldier's Head works were then developed in the equally combative and iconic Goggle Heads and then resolved in the restful Tribute Heads a decade later.Another cast from this edition is in the collection of the Ingram Collection.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 24
Leon Underwood (British, 1890-1975)Laocoön signed, titled, numbered and dated 'I/VII/Leon U./LAOCOÖN-62' (on the bronze base)bronze with a brown patina on a wooden base49.5 cm. (19 1/2 in.) high (excluding the wooden base)Conceived in 1962Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Kaplan Gallery, Sculpture by Leon Underwood, 24 April-18 May 1963, cat.no.9 (another cast)Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, cat.no.78 (another cast)London, Archer Gallery, Leon Underwood, Michael Aram and Georges Brunon, 30 October-29 November 1969, cat.no.13 (another cast)Holt, Augustine Gallery, Paintings and Sculptures of Today, 25 July-9 September 1970, cat.no.293 (another cast)Chichester, Pallant House Gallery, Leon Underwood: Figure and Rhythm, 7 March-14 June (this cast)LiteratureChristopher Neve, Leon Underwood, Lund Humphries, Bradford, 1957, p.215, cat.no.179 (ill. b&w, another cast)Ben Whitworth, The Sculpture of Leon Underwood, the Henry Moore Foundation in association with Lund Humphries, Aldershot, 2000, p.109, cat.no.218 (ill.b&w, another cast)Simon Martin (ed.), Leon Underwood: Figure and Rhythm, Pallant House Gallery, Chichester, 2015, p.34, cat.no.46, (col.ill., this cast)This is an interpretation of a classical Roman sculpture in the Vatican Museum, Rome. The subject is taken from Homer's Iliad.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 31
Dame Elisabeth Frink R.A. (British, 1930-1993)Small Bird I signed and numbered 'Frink/1/9' (on the base)bronze with a dark brown patina29.6 cm. (11 5/8 in.) highConceived in 1961Footnotes:ProvenancePrivate Collection, U.K.LiteratureHuw Wheldon, Monitor, An Anthology, Macdonald, London, 1962Bryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.154, cat.no.80 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.78, cat.no.FCR98 (col.ill., another cast)Elisabeth Frink has been associated with the 'Geometry of Fear' group, a term coined by Herbert Read in 1952 to describe the work of eight British artists represented in the New Aspects of British Sculpture exhibition at the Venice Biennale of 1952. This original group of artists, which did not contain Frink, exhibited angular, jagged, rough-textured, or spiky work which was seen to reflect the angst, anxiety and guilt of the immediate post-war period. The influence of the movement can be seen on the work of Frink throughout the 1950s and 60s, with the bird motif playing a key role in her output.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 52
Lynn Chadwick R.A. (British, 1914-2003)Cloaked Couple III stamped with monogram, dated and numbered '77/761S/3/8' (on the left-hand side of the female figure)bronze with a black patina and polished faces25.7 cm. (10 1/8 in.) highConceived in 1977Footnotes:ProvenanceThe Artist, from whom acquired by Terry Ilott, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondonderry, Keys Gallery, Lynn Chadwick, March 1979 cat.no.14 (another cast); this exhibition travelled to Dublin, David Hendriks Gallery, April 1979, Belfast, Arts Council Gallery, July-September 1979 and Thornbury, Stokefield House, April-May 1979LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.314, cat.no.761SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.322, cat.no.761SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.328, cat.no.761SCloaked Couple III was acquired by the artist Terry Ilott (1945-2019) directly from his friend, Lynn Chadwick, in 1977. Terry was educated at schools in Gloucester and from 1963-1967 was a student at Gloucestershire College of Art, Cheltenham on the Diploma course of Fine Art (Painting). It was in 1967 that Chadwick purchased all of Terry's paintings in his final Diploma, which are still retained by the sculptor's family. Between 1967 and 1970 Terry moved to the Royal College of Art on a Post-graduate M.A. course, also in the Department of Fine Art (Painting).Ilott has been quoted as saying, 'Much of my critical success can be traced back to the fact that Lynn Chadwick, the well-known sculptor, who lived locally, bought my entire Diploma exhibition of 1967 and the work (at least the last time I looked!) was still on the walls of his magnificent house, now lived in by his son, Daniel' (www.newport40yearson.org.uk)Clearly Lynn was a huge fan, and in 1977 wanted to purchase a number of Terry's paintings, who by now was in a full-time teaching post at Newport College of Art. It was agreed the payment would take the form of one of Chadwick's own sculptures and the piece Terry chose was the present lot.There is a wonderful anecdote from the family of Terry Ilott about Cloaked Couple III; during one of his visits to the Ilott residence, Lynn was extremely amused by the fact that Terry's three young daughters had dressed the bronze sculpture in Barbie's hats and scarves!Terry and Lynn became firm friends and in 1980, the Ilotts spent three weeks with the Chadwicks at their family home in the south of France. While delivering some paintings to Lynn at Lypiatt, Terry met the British musician and songwriter Mike Oldfield, who invited him to produce a cover for his album, Crises, released in 1973. Oldfield makes reference to the artwork with the line, 'the watcher and the tower, waiting hour, by hour.'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 22
Frederick Edward McWilliam (British, 1909-1992)Lying Down Figure signed with initials and numbered 'MCW/1/5' (on the back of the right leg)bronze with a green/brown patina68.6 cm. (27 1/2 in.) wideConceived in 1961Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, F.E. McWilliam, May-June 1963, cat.no.6 (another cast)San Francisco, British Council, British Art Today, 1962; this exhibition travelled to Dallas, 1962 and Santa Barbara, 1963 (another cast)Banbridge, The F.E. McWilliam Gallery and Studio, F.E. McWilliam at Banbridge, September 2008-February 2009 (another cast)Drogheda, Highlanes Gallery, F.E. McWilliam at Banbridge, February-April 2009 (another cast)LiteratureRoland Penrose, McWilliam, Alec Tiranti, London, 1964, cat.no.104 (ill.b&w, another cast)Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.75 (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.134, cat.no.236 (ill.b&w, another cast, as Lying Down Figure or Reclining Figure VI)The present work is one of McWilliam's earliest reclining female figures in bronze and, along with similar works from the same period, acts as a precursor to the celebrated 'Girls' series of 1969-71. Holman comments of the 1961-63 reclining figures; 'in these new sculptures, the body's curves have been straightened into geometric shapes and large facets which catch the light. Indeed it is at this point that light becomes a much more important feature of his bronzes' (Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.61).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 53
Lynn Chadwick R.A. (British, 1914-2003)Two Winged Figures II stamped with monogram, dated and numbered '76/735/3/8' (on the back legs of both the female and male figures)bronze with a black patina, in two partsfemale figure 49.2 cm. (19 3/8 in.) high, male figure 50.2 cm. (19 3/4 in.) highConceived in 1976Footnotes:ProvenanceSale; Christie's, Amsterdam, 4 June 1997, lot 735Private CollectionSale; Sotheby's, London, Bear Witness 2, 11 March 2015, lot 233Private Collection, BrusselsExhibitedBrussels, Galerie Farber, Lynn Chadwick and Victor Pasmore, November-December 1976 (another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.304, cat.no.735 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.312, cat.no.735 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.320, cat.no.735 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 44
Dame Barbara Hepworth (British, 1903-1975)Two Forms (Ciel) numbered '4/10' (on the underside)polished bronze on a granite base8.9 cm. (3 1/2 in.) high (excluding base)Conceived in 1959Footnotes:ProvenanceWith Gimpel Fils, LondonLeonard Pearl (Lord Mayor of London)ExhibitedZurich, Galerie Charles Lienhard, Barbara Hepworth, October 1960, cat.no.14 (another cast)London, Gimpel Fils, Barbara Hepworth, May-June 1961, cat.no.7 (another cast)London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-62, May-June 1962, cat.no.41 (another cast)London, Gimpel Fils, Barbara Hepworth, October-November 1972, cat.no.12 (another cast)Wakefield, Wakefield Art Gallery and Museum, Barbara Hepworth: Polished Bronzes, May-June 2003 (another cast); this exhibition travelled to Gouda, Museum het Catharina Gasthuis, July-September 2003LiteratureJosef Paul Hodin, Barbara Hepworth, British Council, London, 1959, p.170, cat.no.266 (another cast)Penelope Curtis, Barbara Hepworth, Tate Publishing, London, 2013, p.51We are grateful to Sophie Bowness for her assistance in cataloguing this lot.On Barbara Hepworth's death in 1975 the obituary published in The Guardian concluded that she was 'probably the most significant woman artist in the history of art to this day'. Few, if any, of her peers would dispute this verdict on an artist who was a founder of the modern movement and a pioneer of abstract art.Two Forms (Ciel) was conceived in 1959, which was the start of an extremely productive period for Hepworth who was finally receiving the international recognition she longed for and had enough space, time and money to be able to really work on just what she wished to. The present work, small but exquisite in bronze, recalls the quiet tenderness and beauty of the artist's 1930s Mother and Child carvings and looks forward to a number of small pierced forms that emerged during the 1960s.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 50
Lynn Chadwick R.A. (British, 1914-2003)Maquette II Walking Woman signed and numbered 'CHADWICK/C6/5/9' (on the cloak)bronze with a black patina30 cm. (11 3/4 in.) highConceived in 1984Footnotes:ProvenancePrivate Collection, SwitzerlandExhibitedLondon, Marlborough Fine Art, Chadwick: Recent Sculpture, 31 October-7 December 1984, cat.no.10 (ill., another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.336, cat.no.C6 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.344, cat.no.C6 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.348, cat.no.C6 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 11
David Wynne O.B.E. (British, 1926-2014)Cresta Rider signed, dated and inscribed 'DAVID WYNNE 1984 A/C' (on the side of the toboggan)bronze with a brown patina on a marble base36.9 cm. (14 1/2 in.) wide (excluding the marble base)Conceived in 1984, the artist's cast aside from the edition of 6Footnotes:ProvenanceThe Artist, by whom gifted toWilliam Shand Kydd (1937-2014), and thence by descent to the present ownerPrivate Collection, U.K.LiteratureJonathan Stone (ed.), The Sculpture Of David Wynne 1974-1992, Lund Humphries, London, 1993, p.158The present work is the only Artist's cast maquette at this scale for the unique six-foot version commissioned in 1984 by the St Moritz Tobogganing Club to mark the 100th anniversary of the Cresta Run. The Cresta is a natural ice run, built each year for a limited nine-week window of amateur rides. It winds three quarters of mile in length down from St Moritz to what was the village of Cresta, through a steep gully and round ten varying corners, including the notorious shuttlecock, with speeds ranging from fifty to eighty miles an hour (depending on the skills of the rider). Wynne was a keen Cresta rider himself, and especially enjoyed the associated social life of the St Moritz season. The contacts he made there led to several commissions and memorable anecdotes, including an evening spent in the company of Audrey Hepburn who, according to his recollection, insisted on dancing only with him.We are grateful to Nicola Bennet for her assistance in cataloguing the present work.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 33
William Turnbull (British, 1922-2012)Metamorphosis 2 stamped with monogram, numbered and dated '6/9/80' (at the back)bronze with a dark brown patina on a stone base40.3 cm. (15 7/8 in.) high (excluding base)Conceived in 1980Footnotes:ProvenanceWith Waddington Galleries, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, William Turnbull (Sculptures), March 1981 cat.no.2 (ill.b&w, another cast)LiteratureAmanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, p.153, cat.no.201 (ill.b&w, another cast)Another cast from this edition is in the collection of the Tate Gallery, LondonBy referring to earlier Metamorphosis sculptures, the viewer of the present work, Metamorphosis 2, can gain an understanding of the processes at work with this group of bronzes dating from the late 1970s and early 1980s. As Amanda A. Davidson comments, 'Turnbull's long-standing interest in metamorphosis becomes the focus of his recent sculpture. Many of these works express metamorphic qualities by ambiguously combining various images and hinting at various uses.' (Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation, Much Hadham, 2005, p.64)Two separate sculptures titled Metamorphosis 1 (1979 and 1980), along with Metamorphic Figure (1979) and Metamorphic Venus (1981) all communicate it was the female form which Turnbull used as the reference point for Metamorphosis 2. Others with different titles (Hook Torso for instance, 1980) use the same concept.Elegantly displayed on its contemporaneous stone base, the present work incorporating a rich brown patina, has been pared down to the bare essential of what appears to be the lower half of a female torso. The work has indeed metamorphosed into an intriguing and ambiguous statement with hints of anthropomorphic attributes, such as a circular indentation located upper centre to denote the navel, and even smaller further indentations to indicate the pubic area. The looping arms of Hook Torso have been dramatically reduced to bulges on both sides at the top of the bronze. The overall impression of a loose heart shape further adds to this sculpture's huge appeal.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 51
Lynn Chadwick R.A. (British, 1914-2003)Maquette VII Sitting Woman numbered and dated 'C39/1986/3/9' (on the base)bronze with a black patina19.2 cm. (7 1/2 in.) highConceived in 1986Footnotes:ProvenancePrivate Collection, SwitzerlandExhibitedSan Francisco, Erika Meyerovich Gallery, Lynn Chadwick, Recent Sculpture, 17 December 1987-20 February 1988, cat.no.4 (ill., another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.358, cat.no.C39 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.366, cat.no.C39 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.365, cat.no.C39 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 34
William Turnbull (British, 1922-2012)Key Torso stamped with monogram, numbered and dated '2/9/81' (at the back)bronze with a light brown patina on a stone base42.3 cm. (16 5/8 in.) (excluding base)Conceived in 1981Footnotes:ProvenanceWith Waddington Galleries, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureAmanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, p.154, cat.no.207 (ill.b&w, another cast)During the mid-1950s William Turnbull created a sculptural group of semi-abstract female figures of considerable size, knows as his Idol series. He returned to the theme, using new titles, again in the late 1970s and early 1980s. Amanda A. Davidson comments on them:'As artworks rather than as equipment they create an experience of pieces of sculpture as physical and potentially practical objects. They achieve this through their overt reference to tools. They go beyond the earlier Idols by creating new versions of archetypal figures from unusual sources.' (Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation, Much Hadham, 2005, p.62)One of these 'practical objects' was the key. With Key Torso the sculptor has taken an everyday object and transformed it into a human presence. Its curved outline with deep notches either side, whilst reinforcing the work's genesis, also serves to describe the contours of a female figure; the incisions being the narrow waist and wide hips. The subtlest of protuberances denote the figure's breasts, and throughout, the surface is covered with his trademark dots, shallow circular motifs which Davidson refers to as 'designs' and the sculptor himself as 'signs'. They are on the fringes of the sculpture at regular intervals, but also run vertically down its centre, from the head to its base, as well as cutting across horizontally and diagonally in the lower section to suggest the pubic area. Regarding this aspect of his work, Davidson comments:'The marks often come from the personal vocabulary of symbols that Turnbull has been exploring throughout his career. There are no predetermined public meanings and there is no secret code for the initiated. Some of the marks can be interpreted as indicating faces, hair, limbs and genitals but there can be many interpretations of these marks and the viewer is free to come to their own readings.' (Op. cit. p.65)Key Torso was made at a time when Turnbull had begun to be more adventurous and experimental with different-coloured patinas. It can be no coincidence given the object of the title, which is traditionally made out of brass or nickel-brass, that he has chosen a similar colour to these alloys, in addition to smoothing the surface right down so as to appear metallic.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 12
David Wynne O.B.E. (British, 1926-2014)Small Maquette of Girl with a Dolphin stamped with monogram and numbered '3/6' (on the dolphin's tail)bronze with a brown patina on a metal base79.4 cm. (31 1/4 in.) high (including the metal base)Conceived in 1972Footnotes:ProvenanceThe Artist, from whom acquired directly byWilliam Shand Kydd (1937-2014), and thence by descent to the present ownerPrivate Collection, U.K.LiteratureGraham Hughes, The Sculpture of David Wynne: 1968-1974, Phaidon Press Ltd, London, 1974, cat.no.73Among the most well-known of all Wynne's works are the two Dolphin sculptures which sit on the banks of the Thames flanking London. To the west at Cheyne Walk is the thirteen-foot Boy with a Dolphin (1974) and eastward at Tower Bridge is the seventeen-foot Girl with a Dolphin (1973). Both works derive from Wynne's experience of swimming with two dolphins housed at the newly opened London Dolphinarium on Oxford Street. Wynne was frequently permitted early morning private access and there carefully observed the mannerisms of the creatures (named Bonnie and Clyde) as they interacted with humans.To achieve the weightlessness required to effectively describe his observations, Wynne employs particularly ingenious engineering. The boy is cantilevered against the dolphin, rising as he is towed by the animal. The girl appears to swim down meeting with the dolphin who sweeps up to greet her like a genial host, the entire weight of the work resting discreetly on the tip of the dolphin's tail.The large Girl with a Dolphin was originally commissioned by Taylor Woodrow, a second cast of which was purchased by Donald Kendall of PepsiCo, now displayed at the PepsiCo Sculpture Gardens, Purchase, New York.We are grateful to Nicola Bennet for her assistance in cataloguing the present work.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 1
Crucified Christ; Spanish School; XVIII century.Gilded bronze and lapis lazuli cross.Measurements: 60 x 40 cm.This work shows the viewer a great example of the coexistence between art and craftsmanship. The author leaves no detail to chance and pays the same attention to the modeling of Christ's body as to the lapis lazuli work of the cross. The contrast between the gold and the intense blue of the cross gives an expressive dimension to the piece that connects with the viewer, showing values such as subtlety, elegance and richness, associated with the religion and tradition represented by the crucifixion. The figure of Christ on the cross already came from the Romanesque period, in which there were two types: the colobium (living Christ, dressed in a tunic) and the perizonium (dressed in a cloth of purity). In the Gothic period the colobium disappears definitively, and Christ will always be represented dressed in a purity cloth, nailed to the cross with three or four nails. In the Romanesque it always appeared with four nails, but in the Gothic it will be more and more frequent the model of three nails, with only one for the feet, as we see here. As the Gothic period progressed, the purity cloth became shorter, until the knees were uncovered, and the anatomical treatment became more and more naturalistic. The one we present here already shows a realistic intention in the treatment of the body, thin and slender, although pathos is avoided in its representation.There were examples of free-standing sculpture, such as processional crosses, which presided over religious rites. This type of object was widely used from the 4th century onwards. Before the 8th century, the crosses hung from the altars, however, this arrangement would change, being placed on a point or lower spike of the altar. The processional crosses are the most important pieces of the ecclesiastical trousseau, usually in number of one per parish. They have the shape of a Latin cross, with a single crossbeam and a longer lower arm. Destined to go on the end of a pole or staff, they open the way in the processional procession.
Lot 78
Georgios Zongolopoulos (Greek, 1903-2004)Cyclopeion signé des initials (en bas à droite sur la base)bronze à patine d'argent, base en plexiglass 23 x 29 x 9.5cm (9 1/16 x 11 7/16 x 3 3/4in).Réalisée en 1967.Cette œuvre est unique.signed with initials (lower right on the base)silverplated bronzeThis work is unique.Footnotes:Cette œuvre est accompagnée d'un certificat d'authenticité de la fondation George Zongolopoulos. * This work is accompanied by a certificate of authenticity from the George Zongolopoulos foundation.For further information on this lot please visit Bonhams.com
Lot 81
Paris Prekas (Greek, 1926-1999)Ikarus signé en grec (en bas à gauche sur la base)bronze50 x 31 x 10.5 cm (19 11/16 x 12 3/16 x 4 1/8in).Cette œuvre est unique Réalisée en 1978.signed in Greek (lower left on the base) bronze Unique workFootnotes:ProvenanceAcquired directly from the artist. For further information on this lot please visit Bonhams.com
Lot 82
Yiannis Moralis (Greek, 1916-2009)Couple signé en grec et numéroté '18/40' (au verso)bronze16.5 x 15 x 3cm (6 1/2 x 5 7/8 x 1 3/16in). 14 x 18 x 3cm (5 1/2 x 7 1/16 x 1 3/16in).Réalisée en 1966.signed in Greek and numbered (on the reverse)bronze (2)Footnotes:ExposéAthens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April 18 - June 5, 1988, no. 132 (listed in the exhibition catalogue, no. 133, p. 68). LittératureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 731, p. 470 (illustrated).Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 157 (illustrated).Shown in S. Charalambopoulos, J. Moralis, documentary CD, Periplous editions, Athens 2005.Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 129 (illustrated).For further information on this lot please visit Bonhams.com
Lot 252
A BRONZE MOULD FOR A BUDDHIST CLAY VOTIVE PLAQUE, CAMBODIA, 12TH/13TH CENTURY of flamed shaped form, with central figure of a deity in a roundel, tiers of figures of bodhisattvas above and below, scrolling handle on the reverse 18cm high Provenance: Collection of a late diplomat, thence by descent
Lot 311
A BRONZE PLAQUETTE OF THE BAPTISM OF CHRIST, VALERIO BELLI (C.1468-1546), POSSIBLY 16TH CENTURY square, St John holding his hand over Christ flanked by four disciples, God the Father and the Holy Spirit above, moulded border 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cast from one of Belli"s rock crystal panels in the "Medici Chest" (Pitti Palace, Florence, Uffizi Inv. Gem 1921 no. 505) Bange 749; Kress 5; Belli 33
Lot 450
A BRONZE PORTRAIT MEDALLION OF A WOMAN, FLEMISH OR ITALIAN, LATE 17TH CENTURY relief profile to sinister 9cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 482
A BRONZE PLAQUETTE OF THE DEATH OF LUCRETIA, PROBABLY GERMAN 17TH CENTURY the three-quarter length figure in deep relief, stripped to the waist to stab herself 16 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 405
A SMALL SILVER PLAQUETTE, PROBABLY ITALIAN, 17TH CENTURY oval, of two classical female nude figures flanking a child, 4 x 3cm; together with a small bronze oval plaquette with St. Catherine with an angel ascending into heaven, ERNST MUZEUM AUKCIOI label to reverse (auctions organised by Lajos Ernst, Budapest, 1920s), 4.5 x 3.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 332
A BRONZE PLAQUETTE DEPICTING HORATIUS COCLES DEFENDING THE BRIDGE, MASTER IO.F.F., PROBABLY EARLY 16TH CENTURY shield shaped, for insertion in a sword-hilt, moulded rim 6cm Provenance: Collection Baron de Cosson; Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Exhibited: The Detroit Institute of Arts, "Decorative Arts of the Italian Renaissance" (November 1955 to January 1956, Exhibition Catalogue No.336) Jeremy Warren in both the Ashmolean and the Wallace collection catalogues discusses why Master IO.F.F. may be the Bolognese goldsmith Giovanni Francesco Furnio, whose skills were celebrated in an enconium written by the humanist Giovanni Filateo Achillini (see Wallace collection catalogue, pp.168-79). Bange 660; Kress 100; Scaglia VI.16; Warren Ashmolean 283; Warren Wallace 44
Lot 92
A BRONZE FIGURE OF VISHNU, TAMIL NADU, SOUTH INDIA, CIRCA 18TH CENTURY the four-armed Hindu god standing erect on a lotus base, his primary right hand in varada mudra, his left at his waist resting on a gada (now missing), a cakra and sankha respectively in his upper hands, wearing tall, tiered headdress 14.5cm high
Lot 365
A BRONZE PLAQUETTE OF MARS AND VICTORY, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528), 16TH CENTURY rectangular, female nude winged Victory running beside helmeted Mars holding a banner 7 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Bange 465-66; Kress 158-59; Scaglia V.19; Warren Ashmolean 320
Lot 91
A BRONZE FIGURE OF GANESHA, TAMIL NADU, SOUTH INDIA, 18TH/19TH CENTURY the four-armed, pot-bellied, elephant headed deity seated on a lotus base, his diminutive vahana, the rat, at his side, holding his broken tusk in his lower right hand, and a bowl of sweets in his left, his upper hands holding a noose and goad 9cm high
Lot 403
A BRONZE PLAQUETTE, PROBABLY 16TH CENTURY shield shaped, cast in deep relief with the head of a bearded man wearing a crown 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 328
A DOUBLE-SIDED BRONZE PLAQUETTE, ATTRIBUTED TO GIOVANNI BERNARDI (1494-1553) oval, the front with a profile bust to dexter of Ludovico Ariosto flanked by raised initials LA, the reverse with the Fall of Phaeton who with his chariot tumbles from the sky 9 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* The portrait is apparently based on the frontispiece of the 1523 edition of Ariosto"s "Orlando Furioso". Bernardi 2011, p.67; for reverse, Fall of Phaeton: Bange 880; Kress 32
Lot 470
A BRONZE PLAQUETTE OF THE FLIGHT INTO EGYPT, WORKSHOP OF MATTHIAS WALBAUM (1554-1632), 16TH CENTURY rectangular, Joseph leading the Madonna and Child on a donkey through trees; together with another, the same but probably later cast both 10cm x 7.5cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Weber 412.4
Lot 376
A BRONZE PAX OF THE ENTOMBMENT, AFTER GALEAZZO MONDELLA, KNOWN AS MODERNO (1467-1528) rectangular, Christ supported on the edge of a richly decorated sarcophagus by Mary Magdalen, the Virgin, a holy woman, St John and Joseph of Arimathea, integral Renaissance arched frame, detached scroll strut to reverse 15.5 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Bange 457; Kress 148,149; Scaglia V.43
Lot 323
A BRONZE PLAQUETTE OF HERCULES AND OMPHALE, AFTER POSSIBLY NICCOLO DE"BONIS, (FLOURISHED LATE 16TH CENTURY ROME) rectangular, the figures seated in woodland, the bewitched Hercules leans longingly towards Omphale whilst three putti disport in the branches above them 8.5 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Planiscig 436; Bowdoin 407; Warren Ashmolean 262 for attribution
Lot 326
A LARGE BRONZE PLAQUETTE OF THE ECSTACY OF ST. CECILIA, AFTER RAPHAEL, ITALIAN, PROBABLY LATE 16TH CENTURY rectangular, the patron saint of music holding a portative organ and standing before a "viola da braccio", cymbals, tambourine, triangle and recorder on the ground, flanked by SS Augustine, John, Paul and the Magdalen, a choir of angels in the clouds above, labels to front of frame and reverse "J.E. Taylor Collection / 47" 24 x 17cm, 35.5 x 28cm including ebonised frame with giltwood mount Provenance: Collection of John Edward Taylor (1830-1905); sold Christie, Manson & Woods, London, "The Renowned Collection of Works of Art, Chiefly of the Mediaeval and Renaissance Times… formed by the Late John Edward Taylor, Esq.", 1 July 1912, lot 47 (to Ballard for 16"16|); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* J. E. Taylor was a prolific art collector, as well as the proprietor of the Manchester Guardian, the newspaper his father had founded. He started his collection in around 1849, having returned to England after a couple of years on the continent. Following the death of his widow, the collection was sold over several days at Christie"s for a total of £358,500. Alongside his passion for early Works of Art, Taylor loved English watercolours. |Among the collection were twenty-four works by J. M. W. Turner, and seven by Blake. He gave more than sixty watercolours to the Victoria and Albert Museum, and to the British Museum a complete set of Turner"s Liber Studiorum.| (Dictionary of National Biography, September 2004) Rather than following the widely disseminated print by Marcantonio Raimondi (c. 1470/82 - c. 1534), which differs in several respects, the present composition closely follows Raphael"s altarpiece, commissioned for a chapel dedicated to St. Cecilia in the Augustinian church of San Giovanni in Monte in Bologna, completed around 1516/17.
Lot 387
A BRONZE PAX, ITALIAN, PROBABLY 16TH CENTURY cast with Christ as Salvator Mundi below a seraph within integral arched frame of flanking columns, with three finials, bronze with gold lacquer 16 x 10.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
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