Dylan Lewis (South African b. 1964)Awakening Leopard Maquette Bronze Signed and numbered 1/15 S354Height: 26cm (10 1/4in.) Width: 95cm (37 3/8in.)In artist's original signed crate Conceived in 1998. Provenance:The artist's studio, Stellenbosch, South Africa Born in 1964 in Johannesburg, South Africa Lewis has emerged as one of the leading figures in contemporary sculpture throughout the world. Lewis was born into a family of artists and it was under their encouragement and tutelage that inspired him to practise the arts. His father Robin Lewis, great-grandfather Thomas Rayfon Lewis and grandmother Renee Hughes were all established artists. Lewis studied art at the Cape Technikon in 1982. His passion and interest in the natural world and wildlife was clear from the very beginning. Between 1985 and 1989 he worked at Rondevlei Nature Reserve. It was here that he worked as taxidermist studying the anatomy of animals and looking at them in minute detail. In 1989 he studied painting at the Ruth Prowse School of Art and went on to spend a year painting and sculpting in the Timbavati Nature Reserve in Mpumalanga. In 1994 moved to Mulberry Farm in Stellenbosch where he built a studio and bronze foundry. In 2017 the Dylan Lewis Sculpture Garden officially opened to the public displaying a magnificent array of large-scale gargantuan sculpture against the backdrop of the mountains together with macquette spread through the gardens as the visitor is encouraged to meander through the beautifully curated and sculpted land. Lewis works from direct observation, continually sketching to understand the forms and how movement emerges. Lewis then turns to sculpture making small compositional studies before working on the large-scale works and maquettes in bronze. The Awakening Leopard is from the Leopard Creek series where the artist explored the animals different states as it awakes from its slumber through to stalking and killing. He studied the supple animal in great detail looking at the curve of the tail through to the twisting form of the outstretched body.
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Jacob Azuelos (British/Israeli 1935-2018)Majestic Flight Bronze Signed and numbered 1/9 (to tail)Height inc. base: 58.5cm (23in.)Provenance:Acquired directly from the artist's studioThence by descent to the present ownerJacob Azeulos was born in Meknes, Morocco in 1935. In 1952, Azuelos emigrated to Israel and was educated and work at Kibbutz Sarid. It is on the Kibuttz that Azuelos' passion for sculpting began. He worked with Olive wood carving and manipulating the material. In 1977, Azuelos moved to England and his interest in sculpture grew. He attended a sculpture course in Devon and continued to produce sculptures right up until the end of his life. His works have been exhibited across Europe and America with a following of private collectors. The following group of figurative works are all sculpted in bronze with different colour patinas. His work whilst generally figurative moves towards abstraction with a dynamic and rhythmic quality such as The Dance. This rhythmic quality is particularly visible in Majestic Flight which demonstrates a bird in flight with its wings in full span as it soars through the air.
λ Henry Moore (British 1898-1986)Head of Queen (Study)Bronze with a green patinaSigned (at base of neck)Height: 28cm (11 in.) (including base)Conceived in 1952 and cast in 1959 in an edition of two plus one artist's proof.Provenance:Finart Gallery Ltd., Johannesburg, South AfricaPrivate Collection, London (acquired from the above in 1974)Thence by descent to the present ownersLiterature:Alan Bowness, ed., Henry Moore Sculpture and Drawings 1949-1954, vol. II, London, 1965, no. 349a, illustration of another cast p. 49Robert Melville, Henry Moore Sculpture and Drawings, 1921-1969, New York, 1970, p. 357, illustration of another cast pl. 452Head of Queen (Study) is one of several preparatory works produced by Moore for the large-scale group sculpture King and Queen (LH 350). Both the studies and the final sculpture are unusual within Moore's repertoire, representing a defined subject rather than the usual universal human form. They are also the only sculptures depicting a single pair of adult figures in Moore's entire output. Moore himself offered up the following explanation, although others have suggested that the timing of the piece with the coronation of Elizabeth II cannot have failed to impress a certain interest upon the artist:"The 'King and Queen' is rather strange. Like many of my sculptures, I can't explain exactly how it evolved. Anything can start me off on a sculpture idea, and in this case it was playing with a small piece of modelling wax. ... Whilst manipulating a piece of wax, it began to look like a horned, Pan-like, bearded head. Then it grew a crown and I recognised it immediately as the head of a king. I continued, and gave it a body. When wax hardens, it is almost as strong as metal. I used this special strength to repeat in the body the aristocratic refinement I found in the head. Then I added a second figure to it and it became a 'King and Queen'. I realised now that it was because I was reading stories to Mary, my six-year-old daughter, every night, and most of them were about kings and queens and princesses."Henry Moore in Henry Spencer Moore, photographed and edited by John Hedgecoe, words by Henry Moore, Nelson, London: Simon and Schuster, New York 1968, p.221 This small study shows the angular head of the queen perforated by a single hole in place of the eyes, its thin face has been extensively worked and scratched adding texture and depth to the surface. The Queen's head used in the completed group sculpture was much softer and less angular than his preparatory studies. In the present work, Moore's working process is laid bare as he experiments with both the form and the surface. Each mark a permanent memory of the artist's touch, the present work has its own beauty and serves as a key insight into the development of an idea. In 1968, Moore recalled that 'the head of the Queen was a problem because it had to be in harmony and I made two or three different attempts at it before being satisfied.' cited in John Hedgecoe, Henry Moore, London, 1968, p.221. Moore felt it was important that the King's head didn't overshadow that of the Queen. The Queen's head had to stand in unison with the strong and distinctive nature of the sculptural and angular King's head, whilst still keeping her own sense of identity.One of casts of LH349a is held in the public collection of Montréal Museum of Fine Arts, Quebec, Canada, a gift of Dr and Mrs Max Stern in 1984. The plaster is held by the Henry Moore Foundation. Condition Report: In overall good original condition. Some areas of surface dirt and verdigris, notably to the top of the head. Would benefit from a light clean. Condition Report Disclaimer
λ Hamish Mackie (British b. 1973)Sitting Leopard HeadBronze Signed, dated 2009 and numbered 5/12 to lower edge Height 45cm (17 3/4in.) 53cm (20 7/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to convey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Very light surface dirt. A few small patches of green verdigris to the back of head. Overall in good original condition. Condition Report Disclaimer
λ Sam Rabin (British 1903-1991) The Main EventMixed media on paperSigned (lower left)53 x 76cm (20¾ x 29¾ in.)Provenance: From the collection of The Hon. Sir William McAlpineSam Rabin (British 1903-1991) was born in Manchester to Jewish-Russian exiles from Vitebsk. Rabin was truly versatile in his practice: a skilled artist, sculptor, teacher and athlete. He won a scholarship to the Manchester Municipal School of Art in 1914, at age 11 - the youngest person ever to attend the prestigious school under French artist Adolphe Valette. His formal education continued at the Slade School of Fine Art in London, under Henry Tonks. In 1925 he moved to Paris, where he met and was greatly influenced by Charles Despiau. In parallel, he competed as an amateur wrestler and boxer - becoming part of the Great Britain squad for the 1928 Olympic Games in Amsterdam, and winning a bronze medal. Rabin worked as a sculptor in London on the Daily Telegraph building and London Transport headquarters, but despite this early success he was wasn't able to find a stable source of work. He funded his artistic career through professional wrestling during the 1930s. Later, Rabin went on to teach drawing at Goldsmith's College of Art, Bournemouth College of Art, and the Poole Art Centre. His students included Mary Quant, Bridget Riley and Tom Keating.Condition Report: Executed on a number of torn and joined sheets. Some lifting to the joined sheet edges at the right half of the composition. The sheet is undulating slightly in the frame and there are some scattered losses to the paint and some lines of cracking upper right. There is a piece of old yellowed tape visible at the lower right corner. The work would benefit from being glazed.Condition Report Disclaimer
Jacob Azuelos (British/Israeli 1935-2018)The Dance Bronze on a marble base Signed and numbered 3/9 Inc. base: 55 x 45.5cm (21½ x 17¾ in.)Provenance:Acquired directly from the artist's studioThence by descent to the present ownerJacob Azeulos was born in Meknes, Morocco in 1935. In 1952, Azuelos emigrated to Israel and was educated and work at Kibbutz Sarid. It is on the Kibuttz that Azuelos' passion for sculpting began. He worked with Olive wood carving and manipulating the material. In 1977, Azuelos moved to England and his interest in sculpture grew. He attended a sculpture course in Devon and continued to produce sculptures right up until the end of his life. His works have been exhibited across Europe and America with a following of private collectors. The following group of figurative works are all sculpted in bronze with different colour patinas. His work whilst generally figurative moves towards abstraction with a dynamic and rhythmic quality such as The Dance. This rhythmic quality is particularly visible in Majestic Flight which demonstrates a bird in flight with its wings in full span as it soars through the air.
λ Hamish Mackie (British b. 1973)Caracal HeadBronze Signed, dated 2010 and numbered 2/2 to the undersideHeight: 27cm (10 5/8in.), Inc. base: 34cm (13 3/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to covey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.Condition Report: Overall surface dirt. May benefit from a light clean. Otherwise in good original condition. Condition Report Disclaimer
λ Ivor Roberts-Jones (British 1916-1996)Sir Winston Churchill, maquette for the monument in Parliament SquareBronze with a dark brown patinaNumbered `54' (on the bronze base)Height (excluding Portland stone base): 52cm (20¼ in.)Provenance:Acquired directly from the artist by the husband of the present ownerLiterature:P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, pp. 51-59 In 1970 the Royal Fine Arts Commission (members included Henry Moore and John Piper) approached nine sculptors to compete for the Parliament Square Winston Churchill Monument commission. Two of these, Ivor Roberts-Jones and Oscar Nemon, were shortlisted and invited to submit revised proposals. By November 1970, the Commission had selected Roberts-Jones as the sculptor. However, Lady Churchill was determined that it shouldn't be Oscar Nemon who won the commission and due to her reservations, the Commission agreed to look at two larger maquettes by both sculptors. Kyffin Williams, a staunch supporter of Roberts-Jones, arranged a private view of Roberts-Jones' maquettes in his own studio for Lady Churchill and in 1971 he was finally announced as the chosen sculptor. The finished statue was unveiled in Parliament Square in 1973 by Lady Churchill, with a speech given by Queen Elizabeth II. The present work was cast by the Meridian Foundry from a maquette produced at the same time as the Parliament Square monumental work. Roberts-Jones retained the first 100 casts for his own clients with the remainder being offered to the subscribers of The Collected works by Winston Churchill by the Library of Imperial History, London. The present work was purchased directly from Roberts-Jones by the present owner's husband.Condition Report: In overall good original condition. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Jacob Azuelos (British/Israeli 1935-2018)The Pearl DiverBronze Signed and numbered 1/9Height: 55cm (21 5/8in.)Provenance:Acquired directly from the artist's studioThence by descent to the present ownerJacob Azeulos was born in Meknes, Morocco in 1935. In 1952, Azuelos emigrated to Israel and was educated and work at Kibbutz Sarid. It is on the Kibuttz that Azuelos' passion for sculpting began. He worked with Olive wood carving and manipulating the material. In 1977, Azuelos moved to England and his interest in sculpture grew. He attended a sculpture course in Devon and continued to produce sculptures right up until the end of his life. His works have been exhibited across Europe and America with a following of private collectors. The following group of figurative works are all sculpted in bronze with different colour patinas. His work whilst generally figurative moves towards abstraction with a dynamic and rhythmic quality such as The Dance. This rhythmic quality is particularly visible in Majestic Flight which demonstrates a bird in flight with its wings in full span as it soars through the air.
λ Paul Mount (British 1922-2012)Untitled (Male and Female form)Polished bronze on slate baseSigned (to side of base)Height: 34cm (13¼ in.)Conceived circa 1960s.Provenance:Sale, Christie's online, 2 December 2016, lot 5Purchased from the above sale by the present ownerMount is renowned for his ability to fuse two juxtaposed design styles, combining the futurist and geometrical forms of modernism together with the more grounded and natural style of hand carved African sculpture. Mount was born in Newton Abbot, Devon. He studied at Paignton School of Art followed by attendance at the Royal College of Art. His education was cut short when he was called for service in 1941. Mount served in the Friends Ambulance Unit in north Africa and France. One of the most influential periods in Mount's career was his move to Lagos, Nigeria in 1955. He set up an art department at Yaba Technical Institute. He was keen that his students learnt tangible skills, and so he employed a wood-carver from Benin. This sparked his interest in sculpture further and he began experimenting with materials such as iroko and ebony. Despite this, his interest in architectural and furniture design prevailed and commissions continued to roll in. In 1960 Mount produced a screen wall at the Swiss Embassy in Lagos. In 1962, Mount returned to England and moved to Nancherrow in Cornwall. Inspired by Barbara Hepworth and her assistants Denis Mitchell and John Milne, Mount looked towards the natural landscape like the Cornish modernists. However, his interest in architectural design and machinery encouraged more angular designs with influences from mainland Europe such as Basque and Eduardo Chillida. First London show was held at the Drian Gallery in 1965 and his first solo exhibition at Marlborough Fine Art 10 years later. "The way that two shapes relate, is as important as the way two people relate" Paul Mount Condition Report: There is some tarnishing to the gold surface, minor scratches, nicks, and scuffs throughout with some losses and rubbing to extreme edges at both bases. Would benefit from a clean and polish.Condition Report Disclaimer
λ Hamish Mackie (British b. 1973)Leopard Turning in Tree Bronze Signed, dated 2012 and numbered 5/12 to trunk Height 44cm (17 1/4in.) Inc. base 50.5cm (19 7/8in.)Provenance:Collier & Dobson, Fordingbridge, HampshireAcquired from the above by the present owner 'You should be able to look wildlife sculpture in the eye and see life' (Hamish Mackie)Hamish Mackie (b.1973) is a considered one of the world's foremost wildlife sculptors. Largely self-taught, Mackie's subjects range from livestock to birds to wild animals, all observed in their natural environment. From the first impressionistic sketches and quick models in plasticine, Mackie works to build up a detailed and atomically accurate core covered with a vibrant skin which serves to capture each individual animal's personality. As with lots 174, 175 and 177 offered here, Mackie often works in bronze. Caracal Head, Leopard Turning in Tree and Sitting Leopard Head all demonstrate Mackie's ability to covey a spontaneous and instinctive moment of an animal's behaviour, from a leopard stretching out and relaxing in a tree to the caracal with his ears pricked up and eyes alert as though he may have just spotted potential prey. It is these intimate moments which Mackie so skilfully depicts which help to bring the sculptures to life. Mackie's love for animals developed at an early age when in 1978, aged five, he moved with his family to a farm in Lostwithiel, Cornwall and was often tasked with looking after the livestock. It was here that he made his first bronze sculpture - a calf's head, given to his father as a Christmas present and which still hangs in the kitchen today.After completing a course in design at Kingston University, Mackie travelled to Africa and in 1995, took a job on a hunting camp in Zimbabwe. It was here that he was able to observe the distinction between an animal in the wild and one in captivity. This interest led him to the conservationist organisation TUSK whom he still supports today. It was during his time in Africa that Mackie fell in love with African wildlife and produced his fist wax sculpture of a cheetah.On his return to the UK, Mackie worked with the sculptor Mark Coreth and began to cast his models in bronze for commercial sale. In 1997, Mackie was accepted into the Royal Academy's Summer Exhibition following on from his first solo show with Fanshawe Somerset, London. Several successful solo shows followed and in 2013 Mackie was commissioned to produce six horses galloping through Berkeley Group Holdings in Spitalfields, London.In 2016, Mackie was awarded the Public Monuments and Sculpture Association's (PMSA) annual Marsh Award for Excellence in Public Sculpture and Public Fountains.
Jacob Azuelos (British/Israeli 1935-2018)Desiree Bronze Signed and numbered 5/9 (to neck)Height 66cm (26in.)Provenance:Acquired directly from the artist's studioThence by descent to the present ownerJacob Azeulos was born in Meknes, Morocco in 1935. In 1952, Azuelos emigrated to Israel and was educated and work at Kibbutz Sarid. It is on the Kibuttz that Azuelos' passion for sculpting began. He worked with Olive wood carving and manipulating the material. In 1977, Azuelos moved to England and his interest in sculpture grew. He attended a sculpture course in Devon and continued to produce sculptures right up until the end of his life. His works have been exhibited across Europe and America with a following of private collectors. The following group of figurative works are all sculpted in bronze with different colour patinas. His work whilst generally figurative moves towards abstraction with a dynamic and rhythmic quality such as The Dance. This rhythmic quality is particularly visible in Majestic Flight which demonstrates a bird in flight with its wings in full span as it soars through the air.
λ Sam Rabin (British 1903-1991)Final WarningMixed media on paper laid to boardSigned (upper centre)20 x 24.5cm (7¾ x 9½ in.)Provenance: From the collection of The Hon. Sir William McAlpineSam Rabin (British 1903-1991) was born in Manchester to Jewish-Russian exiles from Vitebsk. Rabin was truly versatile in his practice: a skilled artist, sculptor, teacher and athlete. He won a scholarship to the Manchester Municipal School of Art in 1914, at age 11 - the youngest person ever to attend the prestigious school under French artist Adolphe Valette. His formal education continued at the Slade School of Fine Art in London, under Henry Tonks. In 1925 he moved to Paris, where he met and was greatly influenced by Charles Despiau. In parallel, he competed as an amateur wrestler and boxer - becoming part of the Great Britain squad for the 1928 Olympic Games in Amsterdam, and winning a bronze medal. Rabin worked as a sculptor in London on the Daily Telegraph building and London Transport headquarters, but despite this early success he was wasn't able to find a stable source of work. He funded his artistic career through professional wrestling during the 1930s. Later, Rabin went on to teach drawing at Goldsmith's College of Art, Bournemouth College of Art, and the Poole Art Centre. His students included Mary Quant, Bridget Riley and Tom Keating.Condition Report: There is some cracking and lifting to the paint along the lower edge and some further light scattered paint cracking throughout, particularly to the lower left quadrant. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of frame. Condition Report Disclaimer
λ Lynn Chadwick (British 1914-2003) Walking Cloaked Figures VIIIBronze with a black patina and polished bronzeEach stamped with the Lypiatt Foundry mark and numbered 795S and 1/9 (inside the cloaks)Height: 28cm (11 in.)Conceived in 1980 and cast in a numbered edition of 9.Provenance:Private Collection, London (acquired in 1983)Thence by descent to the present ownersLiterature:Lynn Chadwick (exhibition catalogue), Fondation Veranneman, Kruishputen, Belgium, 1980, illustration of another cast n.p. Dennis Farr & Eva Chadwick: Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Farnham, 2014, p. 343, no. 795 (illustration of another cast)For additional videos or images of the pieces included in this lot please contact the department on pictures@dreweatts.com Together with his contemporaries Henry Moore, Barbara Hepworth, Jacob Epstein and Eduardo Paolozzi, Chadwick is inextricably associated with the British Modernist Sculpture movement of the mid-20th century. Initially specialising in architectural design both before and after the Second World War, by 1946, Chadwick had started to move away from the intangible world of design instead finding himself increasingly drawn to the tangible nature of objects. A year later, in 1947, Chadwick made his first mobile. Encouraged by his employer at the time, Rodney Thomas, these wire, metal, copper, and brass shapes were first used to decorate the exhibition stands of Thomas' company and then later turned into 'stabiles' by adding ground supports. Around 60 mobiles were created between 1947 and 1952.Although very few of these mobiles survive today, this was clearly the very beginning of what would eventually evolve into Chadwick's signature bronze and steel abstract figures that we know so well today. In 1951, Chadwick was commissioned by the Arts Council of Britain to produce a large-scale sculpture for the Festival of Britain, The Fisheater, which went on to be exhibited at the Tate Gallery until 1952. It was also at this time that Chadwick was asked to present to the selection committee of the XXVI Venice Biennale who selected him together with seven other emerging British artists including Kenneth Armitage, Robert Adams, and Eduardo Paolozzi to exhibit in Venice that year. It was after this exhibition that Chadwick really established his reputation as a member of the New British Sculptors. In 1956, Chadwick returned to the Venice Biennale, this time winning the International Sculpture Prize - the youngest artist ever to do so. During this period Chadwick became increasingly interested in form with his designs becoming more identifiable as figures; their thin and tapering legs and geometric heads, in Chadwick's words 'adding flesh to the skeletons'. By the 1960s, Chadwick was experimenting with bronze casting and by the 1970s, he had established a visible vocabulary of sexual differentiation - triangle or diamond heads for female and square or rectangular heads for male. In addition, the technique of adding polished facets to his figures both added texture and accentuated specific parts of anatomy. This is clearly demonstrated in Walking Cloaked Figures VIII which also combines the artist's timeless architectonic forms with elements of the human, animal and mechanical. The use of clothing, specifically flaring cloaks helps to add a sense of movement to the work. There is no real narrative to Chadwick's works, but it is perhaps the stoic silence and anonymous strength which makes his works so intriguing and timeless.Chadwick remained active until only a few years before his death in 2003, aged 88. Throughout his career and beyond Chadwick remains a recognised household name. In 1964, he was awarded a CBE, and later in 1984 made Officer de l'Ordre des Arts et des Lettres in France. In 2001 he was appointed Senior Academician at the Royal Academy of Arts, London. His work is held in major collections and galleries around the world including the Tate Gallery, London, and Museum of Modern Art, New York.Condition Report: In overall good original condition. Some surface dirt, notably to crevasses. May benefit from a light clean. Condition Report Disclaimer
λ Igor Mitoraj (Polish 1944-2014)Sleeping Head (Testa Addormentata)Bronze on base Signed, numbered 7/8 and stamped with the foundry mark Fonderia d'Arte Massimo del Chiaro, Lucca, Italy Inc. base: 36 x 40cm (14 x 15½ in.)The current lot is a small maquette study for the large-scale Testa Addormentata located in Canada Square, Canary Wharf, London and was created in bronze in 1983. Mitoraj's work combines elements of surrealism with minute study of ancient Greece and Rome. Testa Addormentata depicts a bandaged face, sleeping, resting on its side. The green patina is particular effective giving the sculpture an almost emerald glow. Mitoraj studied at the Krakow Academy of Art under the tutelage of Tadeusz Kantor. He held his first solo exhibition in 1967 at the Krzysztofory Gallery in Poland. In 1968 he continued his studies in Paris at the National School of Art. Mitoraj started to experiment with sculpture after travelling around Mexico , inspired by the Latin American culture. His first major solo exhibition was held in 1976 where he showcased sculpture for the first time. This exhibition was a major turning point in Mitoraj's career who now regarding himself foremost as a sculptor. Mitoraj worked in terracotta, bronze and marble, after a trip to Carrara, Italy. Mitoraj's work stemmed from the study of antiquities. He was fascinated by the human body and how it has been depicted through different civilisations. His work is usually presented in a fragmented state, emphasising the fragility and beauty of the human body and reflecting the way in which antiquities are damaged and suffer through time. This analogy can be applied to the fragility of nature and the human impact upon it. Other monumental sculptures by the artist can be found in Valencia, Spain, Castle Square in Warsaw, Poland and a large scale study of Icarus in from of the Temple of Concordia in the Valley of the Temples. Condition Report: There are some small surface abrasions, notably to the bandaged ear on both sides where it has been displayed. Some light surface dirt. The work has a blue-ish patina which is consistent with the creative process rather than a condition issue. Condition Report Disclaimer
Fun Ho! New Zealand Diecast #2 Holden E.K. Saloon in Bronze Diecast Mint Model In Original Crisp Box Fun-Ho! Toys Were A Brand Of Diecast Toy Cars And Trucks Manufactured And Distributed By Underwood Engineering Co. Ltd. Of Inglewood, New Zealand. Production Was Started By Jack Underwood About 1935 And Continued Until 1982.
Fun Ho! New Zealand Diecast RARE #7 BOAC bus in Gold/Bronze? with leaflet Mint Model In Original Firm Box Fun-Ho! Toys Were A Brand Of Diecast Toy Cars And Trucks Manufactured And Distributed By Underwood Engineering Co. Ltd. Of Inglewood, New Zealand. Production Was Started By Jack Underwood About 1935 And Continued Until 1982.
Fun Ho! New Zealand Diecast RARE #9 VW saloon in Gold/Bronze?Silver base with leaflet Mint Model In Original Crisp Box Fun-Ho! Toys Were A Brand Of Diecast Toy Cars And Trucks Manufactured And Distributed By Underwood Engineering Co. Ltd. Of Inglewood, New Zealand. Production Was Started By Jack Underwood About 1935 And Continued Until 1982.
Fun Ho New Zealand #56 Landliner Bus Bronze Diecast Model Mint In Original Box Fun-Ho! Toys Were A Brand Of Diecast Toy Cars And Trucks Manufactured And Distributed By Underwood Engineering Co. Ltd. Of Inglewood, New Zealand. Production Was Started By Jack Underwood About 1935 And Continued Until 1982.
Tiffany Studios, a patinated bronze table lamp with a non-associated replacement iridescent glass shade,c.1910, bronze Stamped twice Tiffany Studios, New York, 419 S85 and Tiffany Studios, New York,The light fitments and arms supporting the glass iridescent shade, on a central stem with fluted circular base, on ball feet,34.2 cm highThe shade is not Tiffany. It is a replacement, maker unknown but appears to be from the same period, but the original would have had a wider diameter. The bronze base has dulled with age and surface colour is rubbed. With old marks and wear. The glass shade has a few tiny nicks to the edge of the neck rim that is concealed by the mounts.Electrical components have not been tested, and should be examined by a qualified electrician prior to any intended use. Re-wiring may/will be needed
Loetz (Austrian), an iridescent Phaenomen glass vase,c.1901, PG 7801, ground out pontil,Broad open form, the bronze-coloured ground decorated with pulled and shaped bands in gold and pale blue,12.5 cm high, 13.5 diameter, Provenance: Martins Forrest Antiques, London, 1970. Property from a private collectionMinute nick on the neck rim and abrasions/scratches. A few speck inclusions and bubbles from the making process. Natural wear to base.
Pierre Le Faguays (French 1892-1962), ‘Dancer with Thyrsus’, an Art Deco patinated, cold-painted and gilt bronze figure,c.1925, signed on the base 'Le Faguays' and 'Etling Paris',Cast by Etling from a model by Le Faguays as a young woman with vine and grapes at her waist and in her hair, she holds a staff covered with vine and leaves across her shoulders, on stepped marble base, 27.5 cm high, (ARR),Property of a Lady. Literature: Bryan Catley, 'Art Deco and other Figures', Antique Collectors Club, Suffolk, 1978, p.196 (similar model illustrated)Some rubbing and fading to colour overall to her body, more obvious across her shoulders and chest. Fading to colour on her skirt - traces of brown/red. Joins at the arms beginning to show. Some gilt on the thyrsus is still present, but there are some losses. Good cast detail on her hair, the grapes and vine in her hair and at her waist. Face colour rubbed.Base: there are some small chips and nicks and light wear to the base.
Marcel André Bouraine (French 1886-1948), ‘Dancer with Fan’, an Art Deco cold-painted bronze figurec.1925, signed on base 'Bouraine' and 'Etling Paris'Cast by Etling from a model by Bouraine as a naked woman dancing with a large open fan above her head, the fan decorated on the front with birds, on shaped marble plinth,39 cm high, Property of a Lady.Literature: Bryan Catley, 'Art Deco and other Figures', Antique Collectors Club, Suffolk, 1978, p.55 (similar model illustrated)Rubbing and loss to surface cold-painting, a bit streaked, and most noticeable on her hips, thighs and legs. A few scratches and scuffs. On her front hip joint/join is showing (how it was made not damage). Discolouration and some dirt on the fan, but traces of blue for the birds still there.Base some small chips and nicks to edges, some aging to surfaces. Has lost what was probably felt covering to the base, the screw joining bronze to base is protruding a little and makes the base wobble very slightly.
AMENDMENT: THIS LOT IS 30.5 CM HIGH INCLUDING THE BASE. Bronze on its own 25.5 cm highDemetre H. Chiparus (Romanian/French 1886-1947), ‘The little sad one’ a patinated and gilt bronze figure, c.1925, signed on marble base 'D.H. Chiparus', and 'Etling Paris', Cast by Etling from a model by D.H. Chiparus as a young woman with head bowed and holding the hem of her nightgown to her face, raised on faceted marble plinth31 cm high. Property of a Lady. Literature: Alberto Shayo, Chiparus Master of Art Deco, Abberville Press, 1993, p.76, Pl.8 (similar model in bronze and ivory illustrated)Condition Report:A few small marks and abrasions and some fading to gilt, but overall in good condition and a good cast. Base: chip to one corner on lower edge and on the side on a natural fissure. Some natural wear in keeping with age.
Lucille Sevin (French, born pre 1920- died c.1940), 'Young woman with doves', an Art Deco silvered and patinated bronze and carved ivory figure,c.1930, signed 'Sevin' in the bronze, 'Etling Paris' engraved on the base,Cast by Etling from a model by Sevin and depicting a young woman wearing a pleated and split skirt, two birds sit on one of her hands feeding from a bunch of grapes she holds in her other hand, on stepped octagonal marble base, 56 cm high Property of a Lady.Ivory birds: no damage detected - but there are a few marks/spots and dirt and dust on the surfaces.Bronze: the silvered surface has tarnished and streaked overall; some rubbing and marks. The patinated skirt has a white mark on the back. Joint/fixing beginning to show on the front top of her thigh and her arms (not damage, how it is made). Good detail on hair and skirt.Base: some filled spots. A few small nicks and chips to the edges. Natural wear in keeping with age.Please note that this lot contains ivory. Ivory is an endangered material with very strict rules about export/import. If you plan to take this lot out of the UK please check with your shipper or Country regulations that you can before bidding. Some countries do not allow the importation or exportation of ivory. A Bill is due to become law in the UK in the near future that limits the buying and selling of ivory. Proposed in the new UK regulations is ‘10% minimus’ of ivory on items made pre-1947.
Joe Descomps (French 1869-1950), an Art Deco cold-painted bronze and ivory figure on a marble base, c.1925, engraved to top of marble 'Joe Descomps', Cast and carved from a model and depicting a young woman wearing a floral headdress and a decorated bodice, she stands adopting a stylish pose holding the hem of her pleated skirt, on a stepped marble base,28.5 cm high Ivory: the ivory is in overall good condition with just a little yellowing on the back of her neck.Bronze: I think the green colour on the skirt and cap has been refreshed. There are a few scrapes/losses on the skirt. The colour on the bodice, sleeves and feet and ankles have rubbed, but the bronze is in overall good order. Please note that this lot contains ivory. Ivory is an endangered material with very strict rules about export/import. If you plan to take this lot out of the UK please check with your shipper or Country regulations that you can before bidding. Some countries do not allow the importation or exportation of ivory. A Bill is due to become law in the UK in the near future that limits the buying and selling of ivory. Proposed in the new UK regulations is ‘10% minimus’ of ivory on items made pre-1947.
An Austrian cold-painted bronze group of five budgerigars, Early 20th century, The birds modelled perched on a branch, on a rectangular onyx base, 34cm wide, 46cm wide Good overall condition with tiny losses to the cold painted decoration in areas, including a 2cm losses to the tip of the front budgerigar. The blue streaks to the faces of the birds is possibly refreshed. The base in good condition.
An Austrian cold-painted bronze group of two budgerigars, Early 20th century,The birds modelled perched on branch supporting a bird box, on a rectangular onyx base, 34cm high, 33cm wideSome very small losses to the cold painted decoration which includes the plumage to the heads of the budgerigars. The front lower part of the bird box with some loss and discolouration. The support to the bird box perhaps originally had a third budgerigar which is now lacking. The onyx base in good order.
An Austrian cold-painted bronze group of three budgerigars, Early 20th century, The birds modelled perched on a branch, on a rectangular onyx base, 24cm high, 33cm wideGood overall condition with nicks in a small number of places to the cold-painted decoration. Possible refreshment to the decoration of the tails. The base in good order.
An Austrian cold-painted bronze group of three budgerigars, Early 20th century, The birds modelled perched on a branch, on a rectangular onyx base,24cm high, 32cm wideOne or two small nicks to the cold painted decoration, mostly to the heads of the two higher birds. The tail of the highest budgerigar is slightly bent towards the tip. Possible refreshment to the decoration of the tails.
Charles Dyson-Smith (British 1891-1960), a patinated bronze figure of a naked girl holding a glass sphere,Signed Dyson-Smith 1926 on the bronze,Modelled and cast as a naked woman with arched back and holding a removeable glass sphere in her outstretched arms, bronze foot and slate base, 35.5 cm high including glass sphere (ARR) A few small abrasions and grazes and a few marks and paint specs to bronze. Slate base with chips to the corners and nicks to the edges.Glass sphere with a few abrasions and paint spots.
A pair of bronze and marble 'Bison' bookends, possibly French,20th Century,Each modelled and cast as a stylised bison, raised on angled green marble bases,19 cm high (2)A few indentations. Some old marks, spotting and general wear to the bronze, some Verdigris. Surface a bit dull.Bases: with some chips to corners and edges. General wear to sides and base.
Erté (Romain de Tirtoff, Russian 1892-1990), a patinated and cold-painted limited edition ‘Oriental Mystery’ bronze vase,Signed Erté and stamped with a Copyright symbol, 1990, Sevenarts Ltd. 147/395,The heavy bronze vase of shouldered tapered form with small neck, cast in high relief with two elegant ladies wearing elaborate costumes and stylised oriental symbols and wave motifs at the bottom,29.5 cm highSome marks and light wear and rubbing.No certificate or box.
Erté (Romain de Tirtoff, Russian 1892-1990), a patinated and cold-painted limited edition bronze figure ‘Triumph’,Signed ‘Erte’ and stamped with a Copyright symbol, 1987, Chalk and Vermillion, Sevenarts Ltd. numbered 76/375,Modelled and cast as a tall woman with arms stretched above her head, and wearing an elaborate laurel headdress, on polished slate base,55.6 cm highLight wear. No certificate or box.
Erté (Romain de Tirtoff, Russian 1892-1990), a patinated and cold-painted limited edition bronze vase with shaped neck,Dated 1985, signed on the side Erté, stamped on the base edge 73/250, con.kerf.A.1985, foundry seal, The sides cast in relief with two elegant ladies in nineteen twenties costume, on hexagonal base,31 cm highSome old marks and a few scratches. Light wear and rubbing. Wear and tarnishing to foot.No box or certificate.
Loetz (Austrian), an iridescent Phaenomen glass vase,c.1900, PG 29, ground out pontil,The baluster form decorated with silvery-blue shaped banding on a bronze-coloured ground, the inside of the neck also decorated in silvery-blue,13.3 cm high,Property from a private collectionA few tiny abrasions/fine scratches. Some tiny bubbles from the making process. Light natural wear to the underside of the base in keeping with age. Overall good condition.
A patinated bronze winged figural car mascot, c.1930, unsigned,Modelled and cast as a young woman running forward, with long hair and wings behind her, on a black slate base,14.5 cm highA few old marks and scratches on the top of her arms and wings, with light wear and rubbing to her face and sides in keeping with age. Base looks to be a replacement and has some scratches.
Werkstätte Hagenauer Wien (Austrian), a small bronze of an African warrior,Mid-20th Century, stamped Hagenauer Wien, with maker’s wHw roundel, Handmade, Made in Austria,Modelled and cast as a man with a spear and shield, circular base, 8.5 cm high; together with a Richard Rohac small bronze of a Chinese gentleman and a bust of a woman, both stamped with a back to back RR monogram, Made in Austria, 11.5 and 4.5 cm high respectively; and a bronze figure of a man with a spear, the circular base stamped with indistinct signature and 'Lisboa', 26.5 cm high (4)Some tiny indentations, scrapes, rubbing and wear. Shield a bit loose on the Hagenauer. More so for the Lisboa figure and he is missing the top part of his spear. Wear to the bases. The Chinese gentleman is missing salt and pepper pots.
Werkstätte Hagenauer Wien (Austrian), a pair of polished bronze dog bookends,Third quarter 20th Century, with maker’s wHw roundel,Modelled and cast on one side with a pair of stylised ‘Airdales’, plain base,10.3 cm high, 16.5 cm wide, 8.8 cm deep (2)Some old marks, some tiny indentations, wear and some tarnishing. Wear to base.
Werkstätte Hagenauer Wien (Austrian), a cold-painted bronze model of an African woman,Mid-20th Century, stamped Hagenauer Wien, with maker’s wHw roundel, Handmade, Made in Austria,Modelled and cast as a woman adopting a stylish pose, on shaped base,26.5 cm highSome old marks and light wear to surfaces and colour and elbows rubbed. Natural wear to base.
Werkstätte Hagenauer Wien (Austrian), a carved wood and bronze model of an African warrior,Mid-20th Century, stamped Hagenauer Wien, with maker’s wHw roundel, Handmade, Made in Austria,The tall man stands holding a shield and with spear raised above his head, on elliptical base, 27.5 cm high, Some old marks and wear, the base with heavier wear to the top and bottom. Wear and tarnishing to spear.
Werkstätte Hagenauer Wien (Austrian), a cold-painted bronze model of an African woman,Mid-20th Century, stamped Hagenauer Wien, with maker’s wHw roundel, Handmade, Made in Austria,Modelled and cast as a woman with her arms raised, on circular base, 16 cm high; together with a small bronze model of an African warrior, with shield and spear, stamped with maker’s wHw roundel, Made in Austria, 6.5 cm high; and an anonymous small bronze of an African drummer, unmarked, 12 cm high, (3)Some old marks, some tiny indentations, wear and rubbing. Wear to bases.
Werkstätte Hagenauer Wien (Austrian), a bronze figural pin tray,Mid-20th Century, with maker’s wHw roundel, Made in Austria,The small square tray mounted with the stylised figure on an elegant lady, 8.5 cm high, tray 8 cm square; together with a bronze and plastic Richard Rohac figural salt and pepper, modelled and cast as a Chinese gentleman carrying the pots, stamped with back to back RR, Made in Austria, 11.5 cm high (2)Pin tray with old marks and wear, the metal has a dull appearance. A few tiny indentations on her arms. Wear to base. Salt & Pepper: Some old marks and wear. Top of hat tarnished. Wear to base. Salt and pepper unscrew.
Werkstätte Hagenauer Wien (Austrian), a nickel plated bronze and ebonised wood group,Third quarter 20th Century, with maker’s wHw roundel, Made in Austria,Modelled and cast as a stylised slender woman walking a stylised panther carved in ebonised wood, on rectangular base,24.5 cm high, Some old marks and wear. The panther with some polish residue in the grain. Chain and collar tarnished. Wear to base.
Elsie Ward Hering (American 1872-1923), a Spelter and bronze figural letter holder,c.1900, signed Hering,Modelled and cast as an art nouveau maiden leaning over the letter holder which is embellished on one side with lilies on sinuous stems and a lily pad, on shaped integral base,33 cm highSome old marks, abrasions and wear. Some parts polished, other parts have dulled with age. Wear to base.
Tiffany Studios (American 1902-1938), a patinated bronze and green marbled glass 'Grapevine' box and cover,c.1910, stamped Tiffany Studios, New York,Rectangular form, with openwork vine, leaves and grapes, with marbled glass top, sides and bottom, with beaded edges and ball feet,4.5 cm high, 11.3 cm wide, 8.7 cm deep, Property of a GentlemanSome Verdigris to bronze. No damages to the glass. Natural wear in keeping with light natural use and age.
A Tiffany Studios (American) 1902-1938), a small gilt bronze vide poche,Early 20th Century, stamped Tiffany Studios, New York, 1735,The shallow dish with reeded edge, having a textured surface and a gilt finish,12.5 cm diameter, Property of a GentlemanSome spots and old marks on the top and underside. Light natural wear.
A group of Five French Medallions,Comprising:- Pierre Alexandre Morlon (French 1878-1951), a silver medallion, signed A Morlon, stamped D’Argent, on the front and showing the profile of a woman and letters RF, reverse with cast inscription from Marine Marchande, 5 x 4.2 cm, boxed; a silvered bronze circular medallion signed Henry Dropsy (French 1885-1969) cast with profile of a woman wearing a winged helmet, reverse inscribed Monsieur Charabot Senateur, 4.9 cm diameter, and another by Dropsy, signed, for the ‘Union Syndicale de Industrie du Gas en France’’, 5.4 cm diameter, boxed and dated 1934; together with a silvered bronze rectangular medallion of a figure at a drawing board, signed by Hippolyte Lefebvre (1863-1935), stamped Bronze on the end, 7.2 x 5.2 cm, boxed; and a small silver bronze hound medallion, signed V. Peter and depicting a pointer on one side and engraved ‘Exposition Canine de Cannes’, stamped bronze on the edge, 2.8 x 5 cm, boxed (5) Some old marks, wear and rubbing to medallions. Boxes with some wear and losses to surfaces.
An Auréole travel clock mounted in bronze,Late 19th/Early 20th Century, Auréole on dial, bronze with indistinct signature, stamped 231 & 234,Hinged like a book, one side cast with putti in the clouds, the front with foliage and the inset watch, 5.3 cm wide; together with bronze medallion by Frédéric Vernon (French 1858-1912) mounted on the front of a leather card case, the medallion depicting two ladies in a garden winding wool, Wallet 10 cm x 7.5 cm (2) Watch does not work. Some old marks, wear and rubbing to bronze. Leather a little worn on the corners.
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