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Lot 314
A folder of original WW2 and later documentation and certificates relating to Maj. J.A. Kelling US Medical Corps including Presidential certificates, active service certificate, Army commendation ribbon certificate dated 1946, letters and notes; and original paperwork to Lieut. Col. G.H. Kelling US Medical Service Corps including Presinential certificate, bronze star certificate, Staff College certificates, notes, orders, paperwork etc
Lot 327
Arne 9 signed and dated 'alastair Michie 1989' (lower left) acrylic on board 27.5 x 23.5cmFootnote: The eldest son of Scottish artist, Anne Redpath, Alastair Michie was born in St Omer, northern France, in 1921. Initially following in the footsteps of his architect father, Michie won a scholarship to the Edinburgh College of Art to study architecture, though his study was interrupted by his conscription to the Royal Air Force. After completing his service, Michie chose not to return to his architectural studies and instead pursued a career as a graphic designer and freelance illustrator. It was not until he had reached 40, after visiting the 1962 Venice Biennale and admiring the work of Abstract Expressionists Mark Rothko, Franz Kline, and Robert Motherwell, that Michie decided to dedicate himself to painting. In addition to his acrylic and mixed media works on paper and board, Michie also produced a number of sculptures. Inspired by organic and architectural forms, Michie has typically worked in bronze and found materials, such as driftwood, wartime relics and shrapnel, which he foraged for on Studland beach.
Lot 384
Head of Marko Kraljevic ink on brown paper dated '15/11/1910' (lower left); signed 'IMeštrović' (lower right); further signed by Marina Mestrovic to the reverse 7.5 x 9cmFootnote: Arguably the most prominent Croatian sculptor of the modern era, Ivan Meštrović is also remembered as a writer, architect, and paladin of national legend. The present lot, an ink drawing of the head of Marko Kraljevic, appears to be a study for his five-metre-high bronze depicting Kraljevic upon his horse, Šarac, which was presented at the Serbian Art Pavilion at the International Exhibition in Rome in 1911. In 1933, a second, much smaller, version on horseback was commissioned for the Serbian Royal family. The head of Kraljevic as depicted by Meštrović was also reproduced for use on Yugoslavian stamps and banknotes. Gazing past the viewer, determined and dignified, the subject of the drawing, Marko Kraljevic, was the Serbian King from 1371 until 1395, and was said to have protected the Macedonians, Serbians, and Bulgarians from the invading Turks during the Ottoman occupation. Immortalised throughout Balkan folklore as a protector of the weak and advocate of justice since the 14th century, Meštrović’s robust portrait demonstrates the strength and nobility of his subject.
Lot 51
bronze, conceived 1898, cast in 2003, signed and numbered G3/25 in the bronze with Airaindor Valsuani foundry mark and 'Reproduction 1998', 64 x 60cmFootnote: Literature: Le Normand Romain, Antoinette, The Bronzes of Rodin, Paris, 2007, p.332 The present lot, a lost wax casting from an original plaster cast, is one of 25 authorised reproductions produced by the foundry in 2003 and is accompanied by a copy of the certificate of authenticity and a copy of the bill of sale for €80,000 from 'Violon D'Ingres' in the Marché Brion, France, dated 2013. Originally conceived to form part of his monumental bronze, The Gates of Hell, Rodin’s L'Eternel Printemps, or Eternal Springtime, is striking in both the technical brilliance of its dynamic and finely counterbalanced composition, and its ardent sensuality. Appealing to the sensibilities of the 19th century viewer, as with many of his works, the eroticism of L’Eternel Printemps is couched within the context of classical myth and was originally titled Zephyr and Earth and later exhibited at the 1897 Paris Salon as Cupid and Psyche. Indeed, consistent with classical depictions of Zephyr and Cupid, Rodin’s rendering is complete with a pair of small wings. Although tempered by classical allusions, the unbridled carnality of Rodin’s bronze, with its dizzying composition and figures so entwined they appear to melt into one another, must surely be informed by mortal emotion and experience. Indeed, during the time of production Rodin was engaged in an intense love affair with the sculptor, Camille Claudel.
Lot 55
Duck, bronze, originally conceived in marble in 1914 and cast in bronze in 1964-68 in an edition of 12, and one further cast in lead on behalf of H.S. (Jim) Ede 12 cm longFootnote: Provenance: The Peter Simpson Collection, probably acquired directly from Jim Ede Literature: A. Hammacher, Modern English Sculpture, London, 1967, p. 54, another cast illustrated. R. Cork, Vorticism and Abstract Art in the First Machine Age, Volume II, Synthesis and Decline, London, 1976, pp. 433-34, marble illustrated. R. Cole, Burning to Speak, The Life and Art of Henri Gaudier-Brzeska, Oxford, 1978, p. 108, pl. 55, another cast illustrated. R. Cole, Gaudier Brzeska Artist and Myth, Bristol, 1995, pl. 32, another cast illustrated. E. Silber, Gaudier-Brzeska: Life and Art, London, 1996, p. 272, no. 90, pl. 132, marble illustrated. Born in 1891 in Saint Jean-de-Braye, France, Henri Gaudier-Brzeska’s life was tragically brief, dying in the trenches in 1915, aged only 23. However, as a founding member of the London Group, a leading proponent of Vorticism and abstract sculpture, and as, perhaps, the most instrumental figure in exporting Modern Art to the United Kingdom, Gaudier-Brzeska’s life cannot be defined only by its appalling brevity, but also by his outstanding legacy and contributions to art in the 20th century. In 1912, two years after his move to London, a seismic shift took place in Gaudier-Brzeska’s life when he met one of his greatest influences, Jacob Epstein. After meeting Epstein, Gaudier-Brezeska’s work became increasingly influenced by non-Western art and artefacts, specifically those of Pacific Island, West African, Indian, and Assyrian cultures, and away from the dominating influence of Greek sculpture. Cast between 1964 and 1968 from an original model carved directly from marble in 1914, the present lot was one of a number of ‘pocket sculptures’ carved by Gaudier-Brzeska very shortly before he enlisted in the French Army. Composed from simple geometric forms abstracted from both the natural and mechanical world, the head for example resembles a hammer and the tail an arrowhead. Duck is reflective not only of Gaudier-Brzeska’s artistic concerns and influences, but also of the wider social context of life in an increasingly industrial world.
Lot 57
signed and numbered 'Frink 2/7' (lower left) bronze with a gold brown patina, conceived in 1967 21.5 x 26cmFootnote: Provenance: Private collection, London Literature: B. Robertson, Elisabeth Frink Sculpture: Catalogue Raisonné, Salisbury, 1984, pp. 170-171, no. 158, as 'Bronze plaque (maquette for Man and Eagle Relief)', another cast illustrated. A. Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 106, no. FCR183, as 'Bronze plaque (maquette for Man and Eagle Relief)', another cast illustrated
Lot 58
sand cast aluminium, signed and numbered 10/10 to underside 12 x 25.5cmFootnote: Provenance: The John Ady Collection Writing in 1952, the critic and art historian, Sir Herbert Read, coined the term ‘the Geometry of Fear Sculptors’ to describe the most recent cohort of artists occupying the British Pavilion at the Venice Biennale. The work of these artists reflected the anxieties of a post-war society through their use of sharp, distended, extra-terrestrial forms. Among this group, whose members included Lynn Chadwick, William Turnbull, Reg Butler, and Kenneth Armitage, was Geoffrey Clarke, who is today remembered as one of the most experimental and innovative British sculptors of the 20th century. By the time of the Venice Biennale, in 1952, Clarke had graduated from the Royal College of Art and was beginning to embark upon a decade of architectural and ecclesiastical sculptural commissions, many of which were monumental in their scale. Unlike his peers, who laboured over clay models before casting in bronze or iron, Clarke had to find ways to work economically and efficiently, and instead made his models in polystyrene before sand casting in aluminium and welding the constituent parts of his works together. The present lot, a maquette of a much larger work, is typical of Clarke’s rough-hewn aesthetic and pioneering use of material. The present lot will be sold for the benefit of Kettle's Yard, University of Cambridge
Lot 59
cast 1984, the two-piece bronze with green and burnished bronze patina, signed Dali and numbered 230/350 to base, foundry stamp Jemelton 1984, with certificate of authenticity 70.5cm highFootnote: Literature: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 240 ref. 620; Dali in the Third Dimension: The Stratton Foundation Collection Terpsichore is the mythological muse of dance. Her name comes from the Greek "delight in dance". Dali conceived the idea for this sculpture in 1977 and it was first cast using the lost wax process in 1984. The lost wax process involves creating a wax model of the sculpture which is then encased in a fireproof mould, heated until the wax melts and then poured out ("lost"). The mould is then refilled with bronze or metal for the final casting. Salvador Dali is one of the best known of all the surrealist artists, known particularly for his paintings. However, he created a considerable number of sculptures which can be viewed at the Dali Universe at County Hall in Westminster, including a cast of Homage to Terpsichore. In Dali's creation, he sees Terpsichore as a dual or reflected image; one soft and classical in contrast to the other hardened and statuesque. There are no features in their faces as the significance to Dali was in their figures. The dancer of smooth soft lines representing grace and the unconscious, with the other "half" of Terpsichore angular and cubist in feel, representing the chaotic rhythms of modern life. The poet and critic André Breton explained in The Surrealist Manifesto of 1924, that surrealism was a means of reuniting the conscious and unconscious so the world of dream and fantasy would be joined to the everyday rational world. Thus Dali, with his sculpture of Terpsichore, reflects the very essence of surrealism.Condition report: In good overall condition, however, the 'branch' to the rear of the gilt figure has broken/become detatched. (see images). Each base measures 23 x 22cm, the green figure measures 63.5cm high from floor to finger-tip, the gilt figure measures 71cm from floor to finger-tip. Overall weight is app.13kg.
Lot 60
Charging Bull, patinated bronze on a green marble base, stamped 'CALABRONE' to front right hoof 60cm wideFootnote: Italian-Brazilian artist Doménico Calabrone was a painter, writer, and set-designer, but is principally remembered as one of Brazil’s foremost sculptors of bronze in the 20th century. After training in Rome at the Lyceum Classico between 1948 and 1951, Calabrone moved to São Paulo where he held several solo exhibitions and, in 1963, participated in the São Paulo International Biennial and the I Young International Design Exhibition. Calabrone’s work is today held in several important collections across Europe, and North and South America.
Lot 68
signed and dated 'Paul Day 1997' to the left-hand side, terracotta 34.5 x 40 x 16cmFootnote: Chiefly working in terracotta, resin and bronze, British sculptor, Paul Day, has established a peculiarly singular aesthetic dialect in contemporary sculpture. With an unusual and, at times, unsettling approach to perspective, scale, and composition, Day’s highly stylised works defy any traditional means of categorisation. Noted for his keen observation of architectural and human forms, Day has received commissions throughout Europe, Canada, and the United States, with The Meeting Place at St Pancras, London, The Battle of Britain Monument at Victoria Embankment, London, and The Iraq & Afghanistan Memorial at the Victoria Embankment Gardens, London, being among his best-known works.Condition report: A repaired diagonal break across the top left corner, otherwise good.
Lot 1046
A 19th century French gilt-bronze 8-day figural mantel clock, surmounted by a Prince with a crown, white enamel dial with blue painted Roman numeral hour markers and glass exhibition caseback, with movement striking on a bell, case height 29cm, with key and pendulum, not seen workingGood overall condition although movement not seen working and an old pendulum suspension spring is snapped and still present inside movement, dial in good condition with a few specks of dirt, high points on case slightly worn and gilt finish starting to wear through, end of one swag on bottom front right of case is broken and missing
Lot 1054
A 19th century gilt-bronze dual time zone repeating carriage clock timepiece, silvered dial with Arabic numerals and subsidiary time zone dial, with architectural case and Corinthian column corner supports, with bevelled-glass viewing panels, with movement striking on a gong, and swing handle, case height 14cm, back plate no. 458, with key, working orderGood overall condition, clock is currently working but not fully tested for all functions, case is slightly tarnished with light abrasions all over, no obvious damage to glass panels, swing handle working
Lot 176
A brown patinated bronze, seated Buddha on a lotus socle in the contemplative Dhyani Mudra. 19cm high. Together with a probably Indian white metal Hindu figure of Tara. 30cm high And a probably Tibetan, circular prayer box with demon mask in relief and two hide straps.Condition report: No apparent major defects
Lot 208
An Imari pattern cistern, probably Samson of Paris, in the 17th century style but later, decorated in the Imari palette with gilding and with relief moulded nesting cranes between pine trees, a further crane in flight and one upon a pine branch, the bronze tap missing, with figural supports, 37cmCondition report: No lid. Small replaced chip to the rim. Tap missing. Gilding slightly worn throughout. One figure has a hairline crack running from the centre of its head travelling left down and across the lower back. A further figure has broken off and been glued back on.
Lot 263
A Chinese bronze Xian, Han Dynasty, the upper section with a fixed dished plate, the interior of which with a band of relief cast decoration, above two applied dragons and with taotie mask and ring handles, within a relief cast archaic band, the lower compressed section with archaic band decoration and ring handles on three mask legs, 36cm overallCondition report: The plate sitting on the top is stuck fast to the body. There is a 9cm split to the underside where the base joins the sides, terminating in a 4cm split. The head of a dragon handle has partially deteriorated. There are other minor flaws but nothing too detrimental.
Lot 294
A small collection of items including, a London Antiquities Mint cast bronze replica of a Tudor "urn topped" spoon, and two boxed Parker "Motorists Metric Ball Pens" and one unboxed, an oval composition cameo with a bust in profile. and items of costume jewelleryCondition report: The fruit knife is in good order but the marks are obscured the other items in the lot vary in condition.
Lot 297
A collection of Egyptian artifacts including faience "Nefer-Tum Son of Ptah (Vulcan)", "Nephys" figural amulets mounted on titled mahogany plinths, Together with and bronze cat and the God Osiris amulets. (4) 7.5cm the highest.Condition report: The faience figure of Nephys seems to have been repaired.
Lot 345
Großer Deckenlüster Bronze 18./19. Jh., im Renaissancestil gearbeitet, Bronze gegossen und patiniert, auf zwei Ebenen einsteckbare Leuchterarme mit eingerollten Verzierungen, jeweils mit sechs Kerzentüllen bestückt, floral gestaltet, Balusterschaft bekrönt von einer nackten Frauenfigur, mit Öse zur Aufhängung, am unteren Ende ein Maskaron mit klappbarem Griff, Altersspuren, H 120 cm.
Lot 3465
Paar französische Empirevasen wohl Pierre-Philippe Thomire, Paris um 1810, Bronze feuervergoldet, feinst ziseliert und partiell poliert, ungemarkt, in exzellenter Qualität ausgeführte Amphorenvasen mit klassizistischen Applikationen verziert, beidseitiges Motiv Amor auf Delphin, mehrteilig montiert, sehr guter Zustand, H 33,5 cm.
Lot 3466
Paar Wandleuchter mit Pfau Frankreich 1. Hälfte 19. Jh., Bronze vergoldet, ungemarkt, die Wandplatte als Pfau ausgeformt, feststehende gebogte Leuchterarme in Form von Füllhörnern, verziert mit Palmetten und Rollwerk, zweiflammig, mit ehemals schraubbaren Tüllen, etwas angelaufen, sonst guter altersgemäßer Zustand, H je 22 cm.
Lot 3501
Antikenrezeption Diana von Gabii 2. Hälfte 19. Jh., Gießerstempel F. Barbedienne Fondeur sowie gestempelt Reduction Mécanique A. Collas Brevete (Info: Achille Collas entwickelte ein Kopierverfahren für Gravuren und kleine Bronzen), Bronze hell patiniert sowie partiell versilbert, die Darstellung der Diana von Gabii ist die Statue einer Frau in drapiertem Umhang, die wohl die Göttin Artemis darstellt und traditionell dem Bildhauer Praxiteles zugeschrieben wird, sie wurde Teil der bekannten Sammlung Borghese und ist jetzt im Louvre mit der Inventarnummer Ma 529 erhalten, Patina mit Altersspuren, H ca. 42 cm. Quelle: Internet.
Lot 3502
Antikisierende Bronze ”Sterbender Gallier” wohl 1. Hälfte 20. Jh., unsigniert, Stukko dunkel patiniert, Version der sich heute in den Kapitolinischen Museen Roms befindlichen Skulptur aus Marmor, das Werk ist die Kopie der Skulptur, die etwa um 230/220 v. Chr., vermutlich in Bronzeausführung, von Attalos I., dem König von Pergamon, in Auftrag gegeben worden war und im Athena-Heiligtum von Pergamon stand, dieser dokumentierte damit seinen Sieg über die Kelten, die im griechisch-kleinasiatischen Raum als Galater bekannt waren, der Name des Künstlers ist unbekannt, das Werk wird aber bisweilen einem Epigonos zugeschrieben (Plinius d. Ältere: ”Tubicen”), der zur Zeit des Attalos Hofbildhauer in Pergamon war, äußerst eindringliche Darstellung eines niedergestreckten unbekleideten, athletischen jungen Mannes, um den Hals ein Seilfragment geschlungen, in der rechten Brust ein Wundmal, neben sich das Schwert und zwei Kriegshörner liegend, L ca. 44 cm. Quelle: Internet
Lot 3504
Allegorie auf den Sommer Mitte 19. Jh., unsigniert, Bronze fein ziseliert und dunkelgrün patiniert, am Boden gestempelte Nummer 515, Darstellung einer auf einen auf Hufen stehenden und mit einem Tierfell dekorierten Hocker sitzenden Schönheit mit langem weinlaubbekränzten Haar, zu ihren Füßen ein umgefallener Weinkrug, gute altersgemäße Erhaltung, H ca. 31,5 cm.
Lot 3505
Friedrich Johann Reusch, große Bergmannsfigur um 1890, signiert Reusch, Gießereistempel "Aktien-Gesellschaft Gladenbeck Berlin", Bronze dunkel patiniert, auf naturalistischer Felsenplinthe stehender Bergmann in Tracht, mit Spitzhacke und einem Erzklumpen, auf oktogonal facettiertem Serpentinsockel mit abgeschrägten Oberkanten, Montierung am Sockel lose, leichte Altersspuren, H Bronze 52 cm, gesamt 57 cm. Künstlerinfo: deutscher Bildhauer und Hochschullehrer (1843 Siegen bis 1906 Girgenti/Sizilien), absolvierte eine Schreinerlehre, studierte ab 1863 an der Berliner Kunstakademie, arbeitete 1866-1872 im Atelier von Albert Wolff am Denkmal Friedrich Wilhelm III. und am Relief für die Berliner Siegessäule, 1872-74 Stipendium durch die Michael-Beer-Stiftung für Italienreise, danach in Berlin ansässig, ab 1881 Professur an der Kunstakademie Königsberg, erhielt die Ehrendoktorwürde der Albertus-Universität in Königsberg. Quelle: Internet.
Lot 3510
Max Klinger, Kassandra Entwurf 1903, unsigniert, ohne Gießermarke, Bronze dunkel patiniert, Darstellung der vom Gott Apollo verfluchten trojanischen Prinzessin, es gibt zu diesem Werk mehrere verschieden große Ausführungen in verschiedenen Materialien, die sich u.a. im Leipziger Museum der bildenden Künste befinden, da die Gesamtgröße exakt mit dem Original übereinstimmt, handelt es sich hierbei eventuell um einen Fehlguss, rückseitig mit einem Loch, der nicht weiter nachbearbeitet wurde, H 26 cm. Künstlerinfo: bedeutender dt. Graphiker, Maler und Bildhauer (1857 Leipzig bis 1920 Großjena bei Naumburg/Saale), Sonntagsschüler der Zeichenschule Bauer in Leipzig, studierte ab 1874 bei Karl Gussow und Ludwig Des Coudres an der Akademie Karlsruhe, 1875 Wechsel mit Gussow an die Akademie Berlin, erhält 1876 Akademiezeugnis mit Prädikat „Außerordentlich“ und Silberne Medaille, 1879 in Brüssel tätig, hier Schüler von Emile Charles Wauters, 1880 in München ansässig, ab 1881 Atelier in Berlin, Freundschaft zu Karl Stauffer-Bern und Bekanntschaft zu Alfred Lichtwark, Studien- und Arbeitsaufenthalte in Paris und Rom, 1892 Gründungsmitglied der “Gruppe der XI”, ab 1893 Atelier in Leipzig, 1897 zum Professor der Leipziger Akademie ernannt, korrespondierendes Mitglied der Wiener Secession, 1901 Gründungsmitglied und ab 1906 Vorsitzender des Villa-Romana-Vereins, 1903 Erwerb des Weinberghäuschens in Großjena bei Naumburg. Quelle: Thieme-Becker, Wikipedia und Internet.
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