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Lot 150
ARISTIDE MAILLOL (FRENCH 1861-1944) BAIGNEUSE SE COIFFANT monogrammed to base beside figure's left foot, inscribed 'TH' in pen to underside of base, bronze with a dark brown and black patina(27cm high (10.5in high))Footnote: Provenance: The Collection of Lady Isobel Hay; Sold at Phillip's, Edinburgh 1984; where purchased by John Thompson, architect, Glasgow and thence by descent.
Lot 151
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base(overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high))Footnote: Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work. Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly.2 Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 152
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 175
§ SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) THIRD PORTRAIT OF MEUM (MASK), CONCEIVED IN 1918 bronze, on a stepped base(the bronze 23cm high (9in high) excluding base, overall 32.5cm high (12.75in high))Footnote: Provenance: Private Collection, USA; Bonhams, London, 22 November 2016, Lot 160; Private Collection, UK. Literature: R. Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1963, p.94, pl.145 (illustrated another cast); E. Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, pp.142-3, cat. no.89 (illustrated another cast). Buckle noted that that the mask of Meum ‘was one of three ‘Masks’ Epstein modelled between 1916 and 1918. The idea of making masks, that is, faces with no backs to them, was probably inspired by African sculpture’. (Buckle, p.94)
Lot 180
§ DAME ELISABETH FRINK (BRITISH 1930-1993) SENTINEL III, CIRCA 1960 signed, bronze, unique edition(68cm high, 18.5cm wide (26.75in, 7.25in wide))Footnote: Provenance: Private Collection, UK from the 1960s and by descent. Literature: Ratusziniak, Annette (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, 2013, p.74 for comparable examples. This work has been registered with the Estate of the Artist and will be included in any future catalogue raisonné. We would like to thank the Estate of Elizabeth Frink for their assistance in cataloguing the current work. The male form was at the core of Elisabeth Frink’s sculptural practice. Having come from a younger generation so heavily smarted by the Second World War, she saw men’s nature as a root cause of war and the atrocities of warfare. Drawn to the male figure, yet equality repulsed by it she stated ‘I have focussed on the male, because to me he is a subtle combination of sensuality and strength with vulnerability’. Out of the war a new generation of sculptors had grown, the ‘Geometry of Fear’ group, which included Lynn Chadwick, Kenneth Armitage, Eduardo Paolozzi and Reg Butler – all of whom were concerned with the post-war condition of the human form, and it is within this context that her work Sentinel sits. Warriors, sentinels, and helmeted heads inhabit Frink’s oeuvre in the late 1950s into the 1960s, using the male form as an instrument to express both aggression and vulnerability, starkly contrasting to the traditional notion of man as the ideal hero. Frink was subverting the natural order by reverting the age-long tradition of the artistic male gaze on the female form.
Lot 213
§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) STANDING COUPLE, 1980 5/9, signed with initial, numbered and inscribed '789S', bronze with black patina and polished(43cm high, 36cm wide, 53.3cm deep (16.9in high, 14.2in wide, 21in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, pp. 338-339, no. 798S (another example illustrated). Provenance: Private Collection, South Africa; Bonhams, London, 2 July 2002, Lot 132; Private Collection, UK. Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.
Lot 214
§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) SITTING COUPLE, 1975 E/2, 3/8, stamped 'CHADWICK', numbered and dated, bronze(21cm high, 36.5cm wide, 26.5cm deep (8.25in high, 14.35in wide, 10.35in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, p. 310, no. 708 (another example illustrated). Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.
Lot 266
‡ RICHARD JOLLEY (AMERICAN B.1952-) CRESCENT, 1992 signed and dated (to base), verdigris bronze on marble base(55.5cm high (21.75in high) (including base))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world.
Lot 399
§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CRASH HEAD, CONCEIVED 1970 stamped and numbered 'E. PAOLOZZI.10.10' (to front of base), bronze with gold patina and steel chain(39.5cm high (15.5in high) (including the base))Footnote: Provenance: Private Collection, Canada; Christie's, London, 23 October 1996, Lot 58; Bonham's, London, 20 November 2013, Lot 90. Literature: Winfried Konnertz, Eduardo Paolozzi, DuMont, Cologne, 1984, p.183, cat.no.341 (another cast ill.b&w); Fiona Pearson, Paolozzi, National Galleries of Scotland, Edinburgh, 1999, p.51, cat.no.57 (another cast col.ill). By 1970, Eduardo Paolozzi was distancing himself from the ‘Pop Art’ label, feeling it conjured up images of ‘diving into a barrel of Coca-Cola bottles.’ He was engaging with darker subject matter in a way that he felt extended the tradition of Surrealism. Close friends with the science-fiction writer J.G. Ballard, both men had a particular fascination with car crashes, with Ballard specifying that he was interested in the modern day engagement with violence, which mainly took place in the mind, rather then in our physical responses. He felt the car crash was often the one act of violence that the modern day person would physically experience in their life, and even this dramatic impact is between two machines. Interestingly, a shining symbol of modern success and achievement, the car, becomes a destructive and dangerous force in our lives, dream turns nightmare. Crash Head was produced for Paolozzi’s Tate retrospective in 1971. Eduardo was particularly interested in technology and man’s relationship with machines, often fusing human and machinery elements. In Crash Head, he uses the head of a safety test dummy as a model and then applies machine elements; a chunky chain affixed to the head and Frankenstein-esque bolts to the neck. His choice of the model used in car safety testing and demonstrations is a direct engagement with the idea of the violence a car can inflict and an explicit set-up of man versus machine. Yet the quality of the materials, attractive contrasting silver and bronze colours and sleek finish of the sculpture belie these darker undercurrents. The sculpture was produced in an edition of ten. There is one in the National Galleries of Scotland collection, bequeathed by Gabrielle Keiller in 1995, and another is held in the collection of the Stirling Smith Art Gallery & Museum, gifted by The Scottish Arts Council in 1988.
Lot 100
DAVID LLOYD JONES (1928-1994); a large stoneware bottle with disc rim covered in mottled bronze and green glaze, impressed LJ mark, height 35.5cm. (D)Provenance: Purchased from Huddersfield Art Gallery exhibition.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 109
MARY ROGERS (born 1929); a porcelain footed vessel with pinched rim covered in mottled grey/green glaze with bronze radiating decoration and bronze rim, incised MER mark, height 9cm. (D)Provenance: Purchased from Field Gallery, Farnsfield.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 124
GLYNN HUGO (born 1934); a small stoneware pedestal bowl decorated with bands of bronze, red and gold, diameter 10cm. (D)Provenance: Purchased from Field Gallery, Farnsfield.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 153
ROBIN WELCH (1936-2019); a stoneware vessel covered in textured bronze glaze with patches of polychrome enamel decoration, impressed mark and dated 1987, height 37.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 155
ROBIN WELCH (1936-2019); a tall stoneware vessel partially covered in mottled salmon pink glaze with bronze top and purple enamel decorations with white borders, impressed RW mark, height 42cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 160
ROBIN WELCH (1936-2019); a small stoneware pedestal bowl, white crackle glaze and red enamel decoration with bronze rim, impressed RW mark, diameter 12cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 215
PETER SIMPSON (born 1943); a large raku fungoid form with undulating fins covered in bronze and metallic green glaze, diameter 47cm. (D)Additional InformationLarge chip to one fin, small chips to rim and two fins, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 229
PETER MEANLEY (born 1944); a large stoneware pedestal bowl with slip decorated geometric pattern to interior and bronze glaze to rim and exterior, impressed PM mark and dated 1982, diameter 35cm. (D)Provenance: Purchased from Copernican Connection, East Yorkshire.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 280
JON MIDDLEMISS (born 1949); a stoneware sculptural vessel with triangular neck decorated in bands of blue and bronze, impressed mark, height 29.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 285
TOBIAS HARRISON (born 1950); a large earthenware bowl with wide rim covered in bronze, silver and turquoise lustre, incised signature, year/number code and pottery sticker, diameter 41.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 410
PETER SPARREY (born 1967); a stoneware bottle covered in dolomite glaze with bronze neck, impressed PS mark, height 21cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 447
DIANNE CROSS; a large stoneware vase covered in bronze glaze with simple impressed decoration, impressed DC mark and sticker, height 43.5cm. (D)Provenance: Purchased from Craft Centre and Design Gallery, Leeds.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 54
DAVID LEACH (1911-2005) for Lowerdown Pottery; a fluted porcelain bowl covered in bronze glaze, impressed DL mark, diameter 11cm, and a bowl covered in pale green glaze (2). (D)Additional InformationGreen glaze bowl has short stable firing crack (probably glazed over) to rim and some bloating to body, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 80
EILEEN LEWENSTEIN (1925-2005); a small stoneware bowl with wide rim, bronze glaze to the well and in a band with sgraffito decoration to exterior, impressed EL mark, diameter 13.5cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 346
A collection of assorted badges, medallions and associated militaria, including a bronze George V era shooting medal contained in period box, a Welsh enamel sweetheart brooch in the form of a leek, silver ARP badge, a brass early 20th century camera film canister, a German brass charm in the form of a bullet, various enamel badges and medals etc.
Lot 86
A collection of commemorative cased medallions, of local Midland interest, including a silver medal to commemorate the visit of Princess of Wales to the Birmingham Accident Hospital 8 March 1990, a bronze medallion of Birmingham Symphony Orchestra with Simon Rattle 1991, a commemorative gilt metal Hastings 1066-1966 medallion and various others
Lot 1002
A spectacular 19th century quarter chiming English Exhibition table clock with automata, circa 1870/80, of exceptionally large proportion, the ornate gilt bronze mounted ebonised case surmounted by a cherub riding a dragon, the domed pediment flanked by four cherubs holding globes aloft, the brass dial having silvered chapter ring with multiple subsidiary dials displaying day, date and month, cast and pierced spandrels, the dial pediment having an automaton with blacksmith striking his anvil every second and a figure emerging from a side door and striking a bell on every hour, dial flanked by gilt brass corinthian columns on ormolu mounted plinth base, massive 8-day chain-driven movement chiming on eight bells and striking on a gong, overall height 148cm, plinth width 82cm, depth 48cm, dial 45 x 39cm, brass backplate 44 x 31cm, case has heavy gauge bronze carrying handles with relief cast and pierced opening side panels to either side, with original massive brass key. PLEASE SEE THE FINAL 2 IMAGES FOR A FULL WRITTEN CONDITION REPORT.
Lot 1049
A large 19th century French gilt-bronze 8-day mantel clock, indistinct maker, white enamel dial with blue Roman numeral hour markers, gilded ornate case with marble panelling, surmounted by gilt-bronze figural lovers, with movement striking on a bell, case height 50cm, no key or pendulum, on ebonised stand, not seen workingGood overall condition, movement not seen working, dial has a partially restored chip at 9 with several fine hairline cracks all the way round, maker's name is extremely rubbed and hands slightly rusted, high points of gilding are slightly rubbed with some small cracks starting to occur and one part of the front right foot completely split and broken but still sturdy for the clock to stand on, unable to test if working
Lot 327
Rene-Paul Marquet (1875 – 1939), a patinated bronze and ivory figure of a young courtier, holding a plumed feather hat, in embroidered court jacket, signed Marquet, numbered 7967, on an onyx plinth, 28.3cmCondition report: The left hand ivory fingers tips are chipped and cracked and the thumb is missing. A small chip to the front top right corner of the onyx base.
Lot 409
A Tiffany & Co moulded glass and gilt bronze mounted standard lamp, the sepia coloured pleated glass shade above a green to yellow glass column, on a reeded gilt metal stand and triangular base with foliate scrolling feet, stamped ‘Tiffany Studios, New York, 1927’, 160cm.Condition report: Established chips to the lower end of the glass column, where it meets the metal (see photo). Possibly re-gilded recently. No chips or cracks to the shade.
Lot 482
A bronze portrait plaque of HM King Edward VIII, inscribed 'Edward VIII, King-Emperor 1937' unsigned, head left, produced to commemorate the planned coronation of 1937. Together with a composite portrait bust of HM Queen Victoria after the model by Sir Joseph Edgar Boehm R.A. (Austrian 1834-1890) celebrating the Golden Jubilee of 1887. The roundell: 26.5cm diameter, the bust 29 cm high.Qty: 2
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349674 item(s)/page