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Lot 129
PAIR OF FRENCH PATINATED BRONZE FIGURES of aristocratic 18th Century Lady and Gallant in conversation, on slate plinth bases, 46cms high overall, together with 19th Century electroplated pedestal bon bon vase, foliate stem modelled with a leopard on rockwork base, blue glass liner, 15cms high and a Japanese carved wood vase stand, dragon form cabriole legs with platform under tiers, 80cms high (4) Condition Report: the bronze figures - patina slightly worn, fan bent, surface with moderate verdigris to feet, stamped numerals 1555 + 1556. The vase - silver plate worn, one retaining nut missing.
Lot 66
PAIR AESTHETIC-STYLE POLLARD OAK BEDSIDE CABINETS, fitted frieze drawers and panelled doors, bronze handles and later white marble tops, 54 x 41 x 71cm (2) Condition: chip to plinth corner, one door warped, tops later.There is general wear to both, most of the marble corners are chipped.There are cracks on both drawers, one door is warped and will not close properly .There are some loose back panels on one and one piece is cracked on one side.
Lot 96
AMERICAN ARTS & CRAFTS SILVER CREST PATINATED BRONZE DESK SET, textured ground cast with styleised strapwrk designs, comprising inkwell, blotter, pentray, letter rack, paper knife, and an associated dip pen, inkwell base stamped 'Silver Crest SMA Co, Patinated Bronze 2208' (6) Conditon: surface worn and discoloured. Auctoneers note: Silver Crest succeeded Heintz Art Metal Shop.
Lot 407
A 1970's concrete and bronze garden lantern, with an opaque glass shade, on a slender column and cast base. Provenance: Believed to originally have been installed at the American Embassy in London and removed during refurbishments201cm highCondition report: Overall appears to be complete and usable. Quite weathered overall and this has cuased the metal to dull and the concrete to mark. The glass shade appears intact. Is not very stable, so would need to be correctly fixed in place as it is heavy. Not currently wired for use.
Lot 313
19th century Chinese bronze figure censor, Guanyin riding on the back of a lion dog, 33cm long, 39.5cm high. CONDITION REPORT: The bronze is in good condition, the join to the tail has slight movement. There is a hole to the back of the shoulder of front leg. There is an internal pin that is broken, it connects Guanyin to the lion dog.
Lot 659
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 160/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronze plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
Lot 660
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 31/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronze plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
Lot 661
Laurence Stephen Lowry (British 1887-1976) ARR Limited edition set of three prints all hand signed in pencil and a bronze medallion relief of the artist No. 47/300 prints include portraits of Lowry's mother and father and a self portrait plus a bronzw plaque. Limited edition of 300. 37cm x 26.5cm. These three prints were issued in conjunction with a bronze plaque with a relief profile of Lowry by the sculptor Lee Soloman, in commemoration of Lowry's 80th Birthday.
Lot 2527
A bronze figure of Sir Tristram by Rick Lewis, modelled as a horse in a walking pose, raised on a marble base, Aw foundry mark, edition no. 220/500. w,42 cm, together with a modern filled silver model of a stag, signed Weaver dated 1995, on a beech pllinth, h.20cm. (2)Condition report: Break to the marble base of horse and with piece missing, stag with one antler off but present.
Lot 153
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EFFULGENCE Bronze(21.5cm x 13.5cm (8.5in x 5.25in))Footnote: Exhibited: Scottish National Gallery of Modern Art, J.D.Fergusson 2013, Ill. cat. 98, p.94 Note: This sculpture dates from c.1920 (cast date unknown) Effulgence: “great brightness; radiance; brilliance” Thanks in large part to the major retrospective of Fergusson’s work at the Scottish National Gallery of Modern Art in 2013-14, in which the work offered here for sale was exhibited, we are now more aware of the significant role sculpture played in Fergusson’s art practice. It is thought he created his first sculptural work as early as 1908 in Paris, and it continued to be a facet of his oeuvre for the next fifty years. The reason his sculptural works are so limited in number is simply due to the costs involved, as casting was an expensive process. He often had to wait for a direct commission and his sculptures therefore generally went directly in private hands, and are now only in relatively recent times re-emerging back onto the market and providing us with a fuller picture of his sculptural practice. Effulgence is one of the most well-known of Fergusson’s works in bronze. Created c.1920, arguably the most successful decade of the artist’s career, this piece represents him at his height of his creativity. A quintessential product of its era, it encapsulates Fergusson’s immersion within the artistic movements of the Parisian avant-garde, and evidences the Modernist fascination with ‘primitivism’ and the exotic. Though no doubt perceived as provocative by a contemporary audience, it is above all representative of sensuality. Depicting a dancer, this work distils the elements of the human experience that Fergusson held close: vitality, physicality, sexuality and freedom from convention. He did not create his masterpiece Eastre: Hymn to the Sun until 1924, and Effulgence might therefore be considered an important work in the developmental journey. Cast in the yellow bronze frequently favoured by the artist, we come to understand through Effulgence and Eastre that this choice of medium was very conscious; designed to evoke the light and warmth of the sun, and reference ancient Celtic and bronze age deities which celebrate Nature and fecundity.
Lot 168
§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) LE REVEIL Bronze with dark greenish patina(52cm x 48cm (20.5in x 18.75in))Note: This bronze was cast in the 1970's and depicts the artist's wife MaineeFootnote: Note: Rarely do artists display virtuosity in multiple mediums, but Goudie was perceived by many as possessing equal skill in sculpture as in painting. It was a facet of his practice from his earliest days as a GSA student. The work offered here, ‘Le Reveil’, which depicts his wife Mainee, is one of a series of six bronzes produced in the 1970s. As with his paintings, this work manages the difficult feat of being both true to its era whilst tangibly recalling earlier art historical traditions.
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