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Lot 5041
WW1 / WW2 British Military Medal Group comprising of WW1 Military Medal to 25947 Sjt .F.G. Powell. 118/HY:BY:R.G.A. :1914 Mons Star with clasp, awarded 25947 Bmbr F.G. Powell R.G.A, British War and Victory medals, both awarded Lieut F.G. Powell, all mounted on a bar with original ribbons, together with a matching miniature medal group, plus an Edward VII Long Service and Good Conduct medal, awarded Gar - Sergt.- Maj. F. Powell. Garrison Staff, a WW2 medal group of 1939-45 Star, Italy Star, War Medal 1939-1945 and Defence Medal (no ribbon), plus matching ribbon bar, WW2 ID tags for 15605 F. Powell and related items to include a presentation rectangular silver cigarette box, by James Deakin & Sons, assayed Chester 1920, the lid engraved "Mrs.Powell from The Officers and Men, 14th (M) Battery R.A", length 12.5cm, a Maltese silver ashtray inset with Malta Command bronze swimming medal, a Malta Command bronze water polo medal, a 1914 Princess Mary Gift Tin containing Greetings card and rubber number stamp for marking webbing, etc.
Lot 20
Flight of Remembrance Bronze Sculpture Franklin Mint Ltd Edition By Jim Dietz. This is a superb, limited edition bronze sculpture on a marble base. It is the missing plane formation in remembrance of a fallen hero. It is about 18 in length and 13 in height. No 1423 9500. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 41
A Bronze Age Painted Pottery Ewer, Xindian Culture (1200 – 500 BC): Height: 15.6cm Ovate-form body with a tall neck and flared mouth with opposing handles A Bronze Age Painted Pottery Vase, Xindian Culture (1200 – 500 BC): Height: 17.2cm, Diameter: 13.5cm Ovate-form body with a tall neck and flared mouth with opposing handles For a similar painted pottery jar excavated in Zhangjiazui, Gansu Province, see Gansu Painted Pottery, Chongqing Publishing, p.178.Provenance: The Professor Conrad Harris Collection
Lot 50
A Grey Pottery Small Beaker-Form Cup, Hongshan Culture (4500-3000 BC) : Height: 6.5cm, Diameter: 5.5cm A Bronze Age Grey Pottery Stem Cup, Erlitou Culture (2000-1500 BC): Height: 11.6cm, Diameter: 7.9cm A Small Grey Pottery Cup, Hongshan Culture (4500-3000 BC) : Height: 8.5cm, Diameter: 12.6cm A Miniature Buff Grey Pottery Bowl, Hongshan Culture (4500-3000 BC) : Height: 3.1cm, Diameter: 7cm A Black Pottery Cup With Handle, Erlitou Culture (2000-1500 BC): Height: 8.2cm, Diameter: 7.5cmProvenance: The Professor Conrad Harris Collection
Lot 51
A Burnished Black Pottery Vase, Western Zhou (1045-771 BC): Diameter: 10cm, Height: 17cm A Buff-Grey Square Pottery Vessel, Siba Culture (1900 – 1500 BC): Size: 11 x 10 x 12.6cm A Burnished Black Bronze Age Pottery Vase, Erlitou Culture (2000-1500 BC): Height: 13.6cm, Diameter: 11.5cmProvenance: The Professor Conrad Harris Collection
Lot 52
A Buff-Red Pottery Vessel of Human Form, Possibly from Greater Middle East: Height: 13.5cm The body is an ovate form above which is a a high neck with human facial features A Bronze Age Painted Pottery Bird, Possibly Siba Culture (1900–1500 BC): Height: 13.3cm, Length: 17.5cm Depicted with an elongated neck and tail and with a handle-form appendage on its back. Some colour is missing (body repaired) A Painted Pottery Jar, Possibly Tangwang Culture: Height: 7.4cm, Diameter: 7.5cm A Painted Pottery Bird Form Ware, Possibly Tangwang Culture: Height: 8.5cm A Buff Pottery Ram, Possibly from Greater Middle East: Height: 11cm, Length: 10cm covered with a white slip. It stands four square, both front legs pointing forwards and both rear legs pointing backwards. Each horn is curved in a complete circle. A conical cup with a shallow bowl arises from it A Buff Pottery Triangular Bowl, Possibly Siba Culture (1900–1500 BC): Side length: 8.3cm probably serving some ritual purpose. At each corner there is the horned head of a ram or goat. The heads and the outer sides of the bowl are decorated with horizontal or vertical wavy lines in red paint Provenance: The Professor Conrad Harris Collection
Lot 1166
LANSERE, EVGENIJ ALEKSANDROVIC LANSERE, EVGENIJ ALEKSANDROVIC 1848 Morsansk - 1886 St. Petersburg Titel: Berittener Soldat mit Gewehr. Technik: Bronze. Maße: 32cm. Bezeichnung: Kyrillisch bezeichnet auf der Plinthe: E. Lansere. Gießerstempel: Auf der Plinthe Gießerstempel mit Datierung: 1882. Provenienz: Privatbesitz, Deuschland. Erläuterungen zum Katalog Evgenij Aleksandrovic Lansere Russland 19.Jh. Bronzen Reiter / Reiterin Bronze Militär LANSERE, EVGENIJ ALEKSANDROVIC LANSERE, EVGENIJ ALEKSANDROVIC 1848 Morsansk - 1886 St. Petersburg Title: Mounted Soldier with Rifle. Technique: Bronze. Height: 32cm. Notation: Inscribed in Cyrillic on the plinth: E. Lansere. Foundry Mark: On the plinth Foundry mark with date: 1882. Provenance: Private ownership, Germany. Explanations to the Catalogue Evgenij Aleksandrovic Lansere Russia 19th C. Bronzes Horseman / Horsewoman Bronze Military
Lot 1228
NAVELLIER, EDOUARD NAVELLIER, EDOUARD Paris 1865 - 1944 Titel: Rhinozeros. Technik: Bronze: Maße: 20,5cm. Bezeichnung: Bezeichnet auf der Plinthe: E. Navellier. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Edouard Navellier Frankreich 19./20. Jh. Bronzen Tier Bronze Exotik NAVELLIER, EDOUARD NAVELLIER, EDOUARD Paris 1865 - 1944 Title: Rhinoceros. Technique: Bronze. Measurement: 20,5cm. Notation: Inscribed on the plinth: E. Navellier. Provenance: Private ownership, Germany. Explanations to the Catalogue Edouard Navellier 19th/20th C. Bronzes Animal Bronze Exotic
Lot 1194
STUCK, FRANZ VON STUCK, FRANZ VON 1863 Tettenweis - 1928 Tetschen Titel: Serpentinentänzerinnen. Technik: Bronzerelief auf Maße: 61 x 98 x Bezeichnung: Bezeichnet rechts: Franz / Stuck. Literatur: vgl.: T. Raff: "Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes" Franz von Stuck: Das plastische Werk. Ausst.Kat. Franz von Stuck Geburtshaus Tettenweis, Juli 2011 - Juni 2013, S. 38ff. Provenienz: Privatbesitz, Deutschland. Franz von Stucks wohl berühmtestes Relief "Serpentinentänzerinnen" entstand im Zusammenhang mit der Planung seiner Münchner Künstlervilla und wurde später als Bronze- und Gipsrelief in unbekannter Auflage produziert. Im Zuge der Ausstattung hat der Künstler ein koloriertes Exemplar in Gips für den Musiksalon seiner Villa bestimmt, ein weiteres Relief aus Bronze ließ er an der Gartenmauer anbringen. Es entstanden weiterhin zahlreiche Arbeiten, die Stuck auch für fremde Privaträume und Salons schuf (z.B. für den Musiksalon Otto Eckmanns). "Mit dem Relief beginnen die Bestrebungen Stucks nicht nur Innenräume sondern ebenso Fassaden und Gärten dekorativ zu gestalten." (Ausst.-Kat. Galerie der Stadt Aschaffenburg, Aschaffenburg 1994, S. 118). In schwungvoller Linienführung sind auf dem Relief zwei tanzende Mädchen dargestellt. Die Figuren mit ihrer Wendung ins ornamentale und ihren deutlichen Jugendstilmomenten dürften von der amerikanischen Tänzerin Loie Fuller angeregt worden sein. In ihrem Soloprogramm zeigte sie auf ihrer gefeierten Europatournee den Tanz "Serpentine", den sie in wollende Gewänder gehüllt aufführte. Die Wirkung ihres Schleier- bzw. Serpentinentanzes griff auf die verschiedensten Bereiche über. Dichter und Komponisten begeisterte sie ebenso wie Maler und Bildhauer (z.B. Toulouse-Lautrec, Georges Meunier und Pierre Roche). Aufgrund weiterer Arbeiten ähnlichen Motives ist zu vermuten, dass von Stuck den Schleiertanz der Loie Fuller gesehen hat. Zumindest aber in Abbildungen und auf Plakaten muss er ihr begegnet sein. Erläuterungen zum Katalog Franz von Stuck Deutschland Münchner Sezession Münchner Schule 19./20. Jh. Bronzen Tanz / Tänzer Relief STUCK, FRANZ VON STUCK, FRANZ VON 1863 Tettenweis - 1928 Tetschen Title: Serpentine Dancers. Technique: Bronze relief on Measurement: 61 x 98 x Notation: Inscribed right: Franz / Stuck. Literature: Cf.: T. Raff: "Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes" Franz von Stuck: Das plastische Werk. Exhib. cat. Franz von Stuck Geburtshaus Tettenweis, July 2011 - June 2013, p. 38ff. Provenance: Private ownership, Germany. Franz von Stuck's probably most famous relief "Serpentine Dancers" was created in connection with the planning of his Munich artists' villa and was later produced as a bronze and plaster relief in an unknown edition. In the course of the furnishing, the artist intended a coloured copy in plaster for the music salon of his villa, and he had another relief in bronze mounted on the garden wall. Stuck continued to produce numerous works, which he also created for other private rooms and salons (e.g. for the music salon of Otto Eckmann). "With the relief, Stuck's efforts to decorate not only interiors but also facades and gardens began. (Exhibited in the Gallery of the City of Aschaffenburg, Aschaffenburg 1994, p. 118). The relief shows two dancing girls in sweeping lines. The figures with their turn to the ornamental and their distinct Art Nouveau moments may have been inspired by the American dancer Loie Fuller. In her solo programme she showed the dance "Serpentine" on her celebrated European tour, which she performed wrapped in woollen robes. The effect of her veil or serpentine dance spread to the most different areas. Poets and composers inspired her as well as painters and sculptors (e.g. Toulouse-Lautrec, Georges Meunier and Pierre Roche). On the basis of other works with similar motifs, it can be assumed that von Stuck saw the veil dance of Loie Fuller. But at least he must have encountered her in illustrations and on posters. Explanations to the Catalogue Franz von Stuck Germany Munich Secession Munich School 19th/20th C. Bronzes Dance / Dancer Relief
Lot 1202
KLINGER, MAX KLINGER, MAX 1857 Leipzig - 1920 Großjena/ Naumburg Titel: Badende, die sich im Wasser spiegelt. Technik: Bronze. Maße: 24,5cm. Bezeichnung: Bezeichnet auf dem Stamm: MK (lig.). Rahmen/Sockel: Marmorsockel. Provenienz: Privatbesitz, Deutschland. Die Darstellung des nackten Körpers ist in dem umfangreichen malerischen, graphischen und bildhauerischen Oeuvre des vor 100 Jahren verstorbenen und in diesem Jahr in Ausstellungen in Leipzig und Bonn gefeierten Symbolisten Max Klinger oftmals aufgegriffen worden. In der vorliegenden Bronzeskulptur steht jedoch die Schönheit des weiblichen Körpers und das harmonische Zusammenspiel aller seiner Partien im Vordergrund. Die Figur ist eine allansichtige Weiterführung der als "Reue" bezeichneten linken Sockelfigur aus Klingers monumentalem Werk "Christus im Olymp" (Dauerleihgabe des Belvedere Wien im Museum der Bildenden Künste Leipzig). Die "Badende" zeichnet sich insbesondere durch ihre narzisstisch anmutende nach vorne und gleichzeitig nach links gebeugten Körperhaltung und den auf dem Rücken verschränkten Armen aus, die den Betrachtenden immer wieder neue Blickperspektiven von allen Seiten auf die ausgewogene Komposition darbieten. Erläuterungen zum Katalog Max Klinger Deutschland Berliner Sezession 2.H. 19.Jh. Bronzen Akte Bronze Figur / Figuren KLINGER, MAX KLINGER, MAX 1857 Leipzig - 1920 Großjena/ Naumburg Title: Bathers Reflected in the Water. Technique: Bronze: Measurement: 24,5cm. Notation: Inscribed on the trunk: MK (lig.). Frame/Pedestal: Marble base. Provenance: Private ownership, Germany. The depiction of the naked body has often been taken up in the extensive painterly, graphic and sculptural oeuvre of the symbolist Max Klinger, who died 100 years ago and was celebrated this year in exhibitions in Leipzig and Bonn. In the present bronze sculpture, however, the beauty of the female body and the harmonious interplay of all its parts are in the foreground. The figure is an all-view continuation of the left pedestal figure, known as "Repentance", from Klinger's monumental work "Christ in Olympus" (on permanent loan from the Belvedere Vienna at the Museum of Fine Arts Leipzig). The "Bather" is particularly distinguished by her narcissistically appearing posture, bent forward and at the same time to the left, and the arms crossed on her back, which offer the viewer ever new perspectives from all sides on the balanced composition. Explanations to the Catalogue Max Klinger Germany Berlin Secession 2nd half of 19th C. Bronzes Nudes Bronze Figure / Figures
Lot 1165
GRATSCHEFF, ALEXEI PETROVICH GRATSCHEFF, ALEXEI PETROVICH 1780 - 1850 Moskau Titel: Reiter mit Speer im Galopp. Technik: Bronze auf Maße: 33 x Bezeichnung: Kyrillisch bezeichnet auf der Plinthe: Ale. Gratscheff. Rahmen/Sockel: Holzsockel. Provenienz: Privatbesitz, Deuschland. Erläuterungen zum Katalog Alexei Petrovich Gratscheff Russland Russische Schule 1.H. 19.Jh. Bronzen Reiter / Reiterin Bronze Militär GRATSCHEFF, ALEXEI PETROVICH GRATSCHEFF, ALEXEI PETROVICH 1780 - 1850 Moscow Title: Galloping Rider with Spear. Technique: Bronze on Measurement: 33 x Notation: Inscribed in Cyrillic on the plinth: Ale. Gratscheff. Frame/Pedestal: Wooden plinth. Provenance: Private ownership, Germany. Explanations to the Catalogue Alexei Petrovich Gratscheff Russia Russian School 1st half of 19th C. Bronzes Horseman / Horsewoman Bronze Military
Lot 1190
SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Titel: The Last Drop. Trapper mit seinem Pferd. Technik: Bronze auf Maße: 30 x Bezeichnung: Bezeichnet auf der Plinthe: Copyrighted 1903 by / Char. Schreyvogel. Literatur: Catalogue of the Collection of the Museum of Western Art, Denver 1983, S. 110, Abb. 76 (abgebildet ist ein weiterer Guß der Serie); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, S. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, Abb. 62 (abgebildet ist ein weiterer Guß der Serie); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, S. 138. Ein Trapper mit seinem Pferd, zusammen teilen sie sich den letzten Rest des Wasservorrats. Diese archetypische Version des Lonesome Cowboy als modellierte und in Bronze gegossene Figurengruppe diente dem Künstler ursprünglich lediglich als Studienvorlage, nach der er um die Jahrhundertwende das gleichnamige Gemälde "The Last Drop" entwickelte, heute im Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, geboren und gestorben in den USA, kam in den Jahren 1886-1890 zum Studium nach München, wo er bei seinem Landsmann Carl Marr lernte, der später Direktor der Akademie wurde. Zurück in Hoboken reiste er ab 1893 mehrfach in den Westen der Staaten in die dortigen Indianerreservate. Die Motive, die er dort fand, wurden zu seinem Lebensthema, für das er noch heute hoch angesehen und gesucht ist. Er wurde zum Maler der Indianer und Cowboys, der das Leben im amerikanischen Wilden Westen dokumentierte. Viele seiner Werke werden heute in den dortigen Museen ausgestellt. Die Bronze "The Last Drop", eine von nur sehr wenigen dreidimensionalen Bildwerken des Künstlers, brachte es vom reinen Studienobjekt zu eigener Berühmtheit. Die in der New Yorker Gießerei gefertigte und nummerierte Auflage findet sich in zahlreichen Museen der USA, u.a. im Rockwell Museum of Western Art, Corning, New York und im Museum of Western Art, Denver, Colorado. Erläuterungen zum Katalog Charles Schreyvogel USA Münchner Schule 2.H. 19.Jh. Bronzen Pferde Bronze Reiter / Reiterin SCHREYVOGEL, CHARLES SCHREYVOGEL, CHARLES 1861 New York - 1912 Hoboken Title: The Last Drop. Trapper with his horse. Technique: Bronze on Measurement: 30 x Notation: Inscribed on the plinth: Copyrighted 1903 by / Char. Schreyvogel. Literature: Catalogue of the Collection of the Museum of Western Art, Denver 1983, p. 110, ill. 76 (illustrated is another casting from the series); G.A. Reynolds: American Bronze Sculpture: 1850 to the Present, Newark 1984, p. 23. S. Campbell: The American West - People, Places, and Ideas. New York 2001, ill. 62 (illustrated is another casting from the series); L.D. Rosenfeld: A Century of American Sculpture - The Roman Bronze Works Foundry, New York 2002, p. 138. A trapper with his horse, together they share the last remnants of the water supply. This archetypal version of the Lonesome Cowboy as a group of figures modelled and cast in bronze originally served the artist merely as a study model, after which he developed the painting of the same name, "The Last Drop", at the turn of the century, now in the Tacoma Art Museum (Tacoma, Washington). Charles Schreyvogel, born and died in the United States, came to Munich between 1886 and 1890 to study under his countryman Carl Marr, who later on became director of the academy of arts. Back in Hoboken he travelled from 1893 several times to the western part of the states to the Indian reservations there. The motifs he found there became his life theme, for which he is still highly regarded and sought after today. He became the painter of the Indians and cowboys, who documented the life in the American Wild West. Many of his works are exhibited in the museums there today. The bronze "The Last Drop", one of only very few three-dimensional pictorial works by the artist, went from being a mere study object to becoming famous in its own right. The numbered edition, produced in the New York foundry, can be found in numerous museums in the USA, including the Rockwell Museum of Western Art, Corning, New York and the Museum of Western Art, Denver, Colorado. Explanations to the Catalogue Charles Schreyvogel USA Munich School 2nd half of 19th C. Bronzes Horses Bronze Horseman / Horsewoman
Lot 1227
NAVELLIER, EDOUARD NAVELLIER, EDOUARD Paris 1865 - 1944 Titel: Tuareg auf einem Kamel. Technik: Bronze. Maße: 37,5cm. Bezeichnung: Bezeichnet auf der Plinthe: E. Navellier. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Edouard Navellier Frankreich 19./20. Jh. Bronzen Tier Bronze Reiter / Reiterin NAVELLIER, EDOUARD NAVELLIER, EDOUARD Paris 1865 - 1944 Title: Tuareg on a Camel. Technique: Bronze. Height: 37,5cm. Notation: Inscribed on the plinth: E. Navellier. Provenance: Private ownership, Germany. Explanations to the Catalogue Edouard Navellier 19th/20th C. Bronzes Animal Bronze Horseman / Horsewoman
![Medieval Seal Matrices.- Collection of c. 50 Medieval Seal Matrices, including: Seal matrix inscribed "S Johis: Cemer: Cl[er]](https://cdn.globalauctionplatform.com/9a20ae7e-ffba-4e42-a051-ac5d00aaac37/3164e224-0769-4391-8ec7-ac6001104462/468x382.jpg)
Lot 225
Medieval Seal Matrices.- Collection of c. 50 Medieval Seal Matrices, including: Seal matrix inscribed "S Johis: Cemer: Cl[er]ici" surrounding an image of a chimera, vesica bronze seal matrix, 42 x 22mm, [14th century]; and c. 50 other medieval seal matrices, mostly lead and bronze and with devices of religious designs, floral designs, lions and other animals etc., some designated with names, many with short manuscript notes of provenance, found in various counties, v.s., v.d., [14th - 16th centuries] (c. 50 pieces).
Lot 2902
A bronze ship's shelf clock by the Chelsea Clock Co, USA, retailed by Goldsmiths and Silversmiths Co, London, of cylindrical form on a swept base and ball feet, height 22cm.Condition report: The clock does not appear to be working. The bezel his hinged, no serial number visible to dial, stamped 20585 to the mahogany underside.The dial is slightly scratched, and is marked around the left winder.
Lot 391
Ferdinand Barbedienne after Claude Michel Clodion. A bronze figure of a maiden standing next to an urn, circa 1900, in Neoclassical style, on a rouge marble base, Signed F. Barbedienne. Fondeur and 'Clodion' on the figure. Height 54cm.Condition report: No damage or obvious condition issues. The bronze is secure to the base. Weight 10.25kg.
Lot 494
A box of antiquities and fossils to include Egyptian beads, a figure, bronze age pottery shards and a tribal club (a lot).Condition report: Provenance: Vendor's father was secretary of the Radcliffe Archaeological Society from about 1949 to 54.He supervised digs on Turton Moor near Bury, The Ee's site on the River Ribble, Staithes in Yorkshire and the Roman Wall in Manchester. In Cornwall he worked on sites around Penzance and St. Ives and further West.Some of those items were from the site at Staithes and other bits from West Cornwall
Lot 203
A collection of retro vintage mid 20th century buttons to include white plastic two hole shirt buttons, scalloped faux mother of pearl shank buttons having central diamante crystals, gold coloured metal dome shaped buttons and bronze copper coloured disc shaped buttons. Taken from a large private collection. Measures 1cm to 3cm in diameter.
Lot 29JH
Make & Model: Nissan Qashqai Acenta 2WDDate of Reg: EA08 XHYColour: Bronzecc: 1598MoT: 07-10-2021Fuel Type: PETROLMileage: 84kTransmission: MANUALSummary: 3 registered keepers. Current registered keeper since April 2013. 5 service stamps last @ 82,220 February 2020.Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=119666
Lot 47
Dame Barbara Hepworth (British, 1903-1975)Maquette (Variation on a Theme) bronze with a brown and white patina43.8 cm. (17 1/4 in.) high (excluding the wooden base)Conceived in 1958, the present work is number 2 from the edition of 9Footnotes:ProvenanceWith Laing Gallery, TorontoMichael Tollemache, 1970With James Goodman Gallery, New York, 1971Private Collection, U.S.A.With James Goodman Gallery, New York, September 1999, where purchased byWith New Art Centre, Salisbury, February 2000, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedOttawa, National Gallery of Canada, Recent British Sculpture, organised by the British Council, 13 April 1961, cat.no.4 (another cast); this exhibition travelled to Québec, Montreal Museum Of Fine Arts, May, Winnipeg, Art Gallery, June, Regina, Norman Mackenzie Art Gallery, July, Toronto, Art Gallery Of Ontario, August, London (Ontario), Regional Art And Historical Museum, September, Vancouver, Vancouver Art Gallery, 1-30 April 1962, Aukland, City Art Gallery, 5-29 July, Wellington, Dominion Gallery, 21 August-9 September, Dunedin, Otago Museum, 9-28 October, Christchurch, Canterbury Museum, 20 November-9 December, Adelaide, Art Gallery Of South Australia, January 1963, Canberra, Australian National Museum, 13 January-23 February, Perth, Art Gallery Of Western Australia, 24 January, Adelaide, Adelaide Festival, 4 April-5 May, Hobart, Tasmanian Museum And Art Gallery, May, Launceston, Queen Victoria Art Gallery, 30 May, Melbourne, National Gallery Of Victoria, July, Sydney, Art Gallery Of New South Wales, August, Brisbane, Queensland Art Gallery, September, Newcastle, Newcastle Region Art Gallery, October and Canberra, National Gallery, 1 January-31 March 1964London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952-1962, May-June 1962, cat.no.37 (another cast)Florence, British Arts Council, Barbara Hepworth: Mostra Fotografica con Disegni e Originali, 8-16 October 1966, cat.no.4 (another cast)New York, Memorial Art Gallery, Twentieth Century Art: The Charles Rand Penny Collection, November 1983-August 1984, cat.no.47 (another cast); this exhibition travelled to New York, State University Art Gallery, October-December 1984, California, San Jose Museum of Art, September-November 1985, Wheeling, Stifel Fine Arts Centre, January-March 1986, Baton Rouge, Louisiana Arts and Science Centre, April-May, Tampa, Tampa Museum of Art, June-July, Little Rock, Arkansas Art Centre, August-September, Oklahoma, Oklahoma Art Centre, November-December, Jackson, Mississippi Museum of Art, January-February 1987, Spokane, Cheney Cowles Memorial Museum, June-July, Oshkosh, Paine Art Centre, September-November, Texas, Beaumont Art Museum, January-February 1988 and Shreveport, Meadows Museum, March-May 1988Liverpool, Tate, Barbara Hepworth: A Retrospective, 14 September–4 December 1994, cat.no.57 (another cast); this exhibition travelled to New Haven, Yale Centre for British Art, 4 February-9 April 1995 and Toronto, Art Gallery of Ontario, 19 May-7 August 1995LiteratureJ.P. Hodin, Barbara Hepworth, London, Lund Humphries, 1961, cat.no.247 (ill.b&w) (another cast)Matthew Gale and Chris Stephens, Barbara Hepworth, Works in the Tate Collection and the Barbara Hepworth Museum St Ives, Tate Publishing, London, 2001, p.182Owing to her desire to have direct contact with materials, Barbara Hepworth came to bronze casting somewhat later in her career with the first appearing in 1956. Alongside wood and stone, bronze was a medium which the artist would continue to explore until the end of her life, producing some of her finest and most memorable work from it. Maquette (Variation on a Theme) was conceived in 1958 and belongs to the early stages of development in one of the artist's important commissions. At Lillian Somerville of the British Council's recommendation, Hepworth was put in touch with the architects Trehearne & Norman Preston who were designing a sixteen-story office block on High Holborn for The Wohl Group. This was to become the now demolished State House with the sculpture presiding over the entrance titled Meridian. As Somerville explained, 'for once these architects do not want symbolism or a subject or a theme but an abstract sculpture', which must have been a particular draw for the artist (M. Gale and C. Stephens, Barbara Hepworth, London, 1999, p.182). Indeed, in an interview at the time, Hepworth described how 'with this commission I felt no hesitation whatsoever. By next morning I saw the sculpture in my mind quite clearly. I made my first maquette, and from this, began the armature for the working model. The architect must create a valid space for sculpture so that it becomes organically part of our spiritual perception as well as our three-dimensional life. To do less is to destroy sculpture and admit to an impoverished architecture' (P. Curtis and A.G. Wilkinson, Barbara Hepworth, A Retrospective, Liverpool, Tate Gallery, 1994, pp.154-155). Following an initial plaster model, Hepworth first created Maquette for State House (Meridian) (BH 245), which was later cast in an edition of 9. The present work, Maquette (Variation on a Theme), followed and was also to be cast in an edition of 9 with this being number 2. The work displays a complex tangle of ribbons which bind together and form triangular loops with the ultimate intention of contrasting with the building's linear architecture. The sculpture is clearly derived from the landscape with its strong sense of form and texture which was always at the forefront of the artist's mind. Maquette (Variation on a Theme) conveys a vivid sense of the artist's experience with the childhood memories of hills in Yorkshire and the weathered coast of Cornwall both translated into sculptural form. When explaining her choice of title for Meridian to the architect Harold Mortimer, Hepworth commented that 'it refers either to an imaginary arc of longitude (quintessentially, the Greenwich Meridian) or to the highest point in the arc of the sun' (M. Gale and C. Stephens, loc. cit.). Meridian was erected in London in 1960, the year after Hepworth claimed the Grand Prix at the Sao Paulo Art Biennial and was unveiled in front of a wall of Cornish granite by Sir Philip Hendy, Director of the National Gallery. Upon its demolition in 1990, the sculpture was sold to the Donald M. Kendall Sculpture Gardens in Purchase, New York, which is the headquarters of PepsiCo. The success of Meridian was an important development for Hepworth and led to future commissions including Winged Figure for the John Lewis building on Oxford Street. We are grateful to Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 48
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure stamped with a 'C. VALSUANI CIRE PERDUE' foundry mark (on top of the base)bronze with a black patina15.2 cm. (6 in.) longConceived in 1945 and cast in an edition of 7Footnotes:ProvenanceSale; Kornfeld & Klipstein, Bern, 10 May 1963, lot 794With Samlaren Gallery, Stockholm, from whom acquired byTheodor Ahrenberg, from whom acquired byLa Boetie Inc., New York, 1967, from whom acquired byPrivate CollectionTheir sale; Sotheby's, New York, 4 November 1993, lot 370, where acquired by the present ownerPrivate Collection, SpainExhibitedStockholm, Samlaren Gallery, Henry Moore: Sculptures and Drawings, 1952Stockholm, Akademien, Henry Moore, 1952, cat.no.121LiteratureDavid Sylvester, Henry Moore: Volume 1, Complete Sculpture 1921-1948, The Henry Moore Foundation in association with Lund Humphries, Much Hadham & London, 1988, p.15, cat.no.246During his long and distinguished career, the 'reclining figure' along with the 'mother and child' theme were the two subjects that obsessed Henry Moore more than any other. Recent information from the Henry Moore Foundation indicates there are 270 examples of the reclining figure and 140 of the mother and child, perhaps confirming the former as the most significant; certainly the most fundamental. By 1968, Moore admitted this was the case: 'From the very beginning the reclining figure has been my main theme. The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures' (John Hedgecoe, Henry Moore, London, Thomas Nelson, 1968, p.151). The origins of that first reclining figure (male and now destroyed) can be traced back to the Toltec-Mayan idol Chacmool. Impressed by a life-sized limestone carving from the eleventh or twelfth century found in Chichen Itza in Mexico, Moore came across a plaster cast of Chacmool on a visit to the Trocadero Museum in Paris in 1925. The curious reclining posture of the figure on its back, with knees drawn up and head twisted to the right fascinated Moore and it became 'undoubtedly the one sculpture which most influenced my early work' (Henry Moore Writings and Conversations, ed. Alan Wilkinson, London, Lund Humphries, 2002, p.98).The present work was conceived at the end of WWII in 1945 as a preparatory study for the 30 in. Hornton stone carving Reclining Figure (1947-49, LH 273, now in the collection of the Philadelphia Museum of Art). It was originally modelled in terracotta (whereabouts unknown) with an edition of seven cast in bronze. This was a particularly significant time as the end of conflict meant a renewed availability of metals and Moore was able to break free from the constraints of two dimensions and work more regularly in three. Reclining Figure is therefore one of the first sculptural examples of what the artist had absorbed through his graphic observations of the public sheltering from The Blitz in the London underground. The undulating profile of the sculpture draws on both the example of a body sheltering on the platform floor and the artist's early preoccupations with the naturalistic rendering of bones, rocks and mountainous landscape, as such she can be read as both abstract and human at the same time. Writing of the scaled up carving of the present form, John Russell writes 'After many Reclining Figures in which the central hole was the dominant compositional feature here is one in which, on the contrary, the central area is filled in. Such is the modelling of that area that two complementary movements are set up: one begins below the heart and swings up and away to the left, while the other begins at the bottom of the right thigh and swings up and away to the right. The relationship, here, between the thing seen and the thing imagined is one of the most moving in all Moore's work, in that the spreading and subtly modulated area between heart and knees is continuously alive in terms both of human anatomy and of the landscape-analogy, the sublimations of moorland and bluff, which Moore keeps going at the same time. This is not one of Moore's largest carvings – it is only thirty inches long – but it is one in which social duty is laid aside and the imagination runs free to glorious effect.' (John Russell, Henry Moore, The Penguin Press, London, 1968, p.177)Another example from this edition is in the collection of the Memorial Art Gallery, University of Rochester, U.S.A.We are grateful to the Henry Moore Foundation for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 50
Dame Elisabeth Frink R.A. (British, 1930-1993)Mirage II signed and numbered 'Frink / 4/5' (on the base)bronze with a dark brown patina91.4 cm. (36 in.) highConceived in 1967Footnotes:ProvenanceWith Osborne Samuel, London, where acquired byPrivate Collection, U.K.Their sale; Bonhams, London, 18 November 2015, lot 56, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink, 11 October-4 November 1972 (another cast)Wakefield, Yorkshire Sculpture Park, Elisabeth Frink: Open Air Retrospective, 21 July-14 November 1983 (another cast)London, Royal Academy of Arts, Elisabeth Frink, Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Hong Kong, The Rotunda, Exchange Square, part of Hong Kong Festival, Elisabeth Frink: Sculpture & Drawings, 31 January-31 March 1989 (another cast)Washington, The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast)London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast)London, Beaux Arts, Frink, 2006 (another cast)London and Bath, Beaux Arts, Frink, 2009 (another cast)LiteratureEdwin Mullins, The Art of Elisabeth Frink, Lund Humphries, London, 1972, cat.no.91 (ill.b&w., another cast)Jill Wilder, Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, 1984, p.171, cat.no.162 (ill.b&w., another cast)Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.108, cat.no.FRC187 (ill.b&w., another cast)Like her contemporaries whose work of the period was generalised under the term 'Geometry of Fear', Frink in the late '50s and '60s engaged with the heavy sense of dread that came from living in a newly nuclear-enabled world. She called upon the symbolism of birds as harbingers of this potential catastrophic violence. They appeared as blinded, sharp-beaked aggressors, distorted and stalking which took on an archaic form and crowed towards unknown horrors. This brutal aesthetic dominated her output until 1967 when she moved to the south of France. The light brighter and the air warmer, her entire output shifted accordingly. The Mirage works were the first bird pieces produced there and although they retain many similar qualities to their predecessors, they are decidedly more evolved. Inspired by local flamingos, which when viewed from afar in intense heat, became distorted by mirage to become even more slender, the sculptures' surface becomes smoother and more finessed and the form sleeker and more stylised.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 51
Dame Elisabeth Frink R.A. (British, 1930-1993)Horseman signed and numbered 'Frink 5/6' (on the rear left hoof)bronze with a light green patina83 cm. (32 5/8 in.) highConceived in 1984Footnotes:ProvenanceWith Beaux Arts, London, circa 1984, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Wiltshire, Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, 10 May-7 June 1997 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.182, cat.no.SC2 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.166, cat.no.334 (ill.b&w, another cast)As Edward Lucie-Smith observed in 1994, 'one of Frink's best-known images is Horse and Rider (1974), commissioned by Trafalgar House and situated on the corner of Piccadilly and Dover Street in central London. Thousands of Londoners pass it every day, and it is one of the very few contemporary public sculptures in London that seems to be liked and appreciated by the public'. (Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.50).Whilst Frink's varied and extensive output has since been the subject of at least seven major museum exhibitions, many more gallery shows and several publications including a complete catalogue raisonné, it remains the case that in the public's mind the motif of horse and rider is still synonymous with Frink. Considering that she sculpted many more horses without riders, it is testament to the power of such an emotionally accessible motif that such works are so indelibly etched on our perception of her sculpture. This has only been further reinforced by the relocation of the above mentioned commission to the more prominent location of number 1 New Bond Street. The present variation of the horse and rider is described by Lucie-Smith as 'The most striking treatment of this motif from her last decade... intense and deeply felt.' (ibid). He elaborates that 'unlike nearly all her previous riders, this one is clothed. He wears bulky garments, and his head is enveloped in a hood. His features are much more individualized than is the case with Frink's nude horsemen: the spectator feels that he or she is in the presence of a real person. This impression is reinforced by the way in which the posture as well as the features are scrutinized. The rider sits on his horse very easily and confidently. His shoulders are slightly slumped but the impression he makes is one of great alertness. Face and posture alike make it probable that the sculpture was inspired by her third husband, Alex Csáky. Csáky came from an aristocratic Hungarian family; the history of Hungary was, so to speak, in his blood. Horseman could be read as a representation of a nomadic Magyar rider, roaming the Hungarian plains, only half-civilized, always on the lookout for conquest.' (ibid.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 479
HEMMERLE HEMMERLE Deutschland, München. Bronze, Innenring 750/- Weißgold, Punze, Gesamtgewicht: ca. 29,0 g. EU-RM: 57. 1 ovaler, facettierter Aquamarin ca. 8,4 ct., 16,7 x 12,1 x 8,0 mm. Punze und Signatur "Hemmerle". Massiver Ring in Bandringfassung mit deutlichen Tragespuren. Orig.-Ledermäppchen anbei. Hemmerle Schmuck Ring Bronze Aquamarin Deutschland, München Erläuterungen zum Katalog HEMMERLE Aquamarine-Ring. HEMMERLE Germany, Munich. Bronze, inside ring 750/- white gold, total weight: ca. 29,0 g. EU Ring Size: 57. 1 oval, faceted aquamarine ca. 8,4 ct., 16,7 x 12,1 x 8,0 mm. Solid ring in band ring setting with clear signs of wear. Stamp and signature "Hemmerle". Original leather etui enclosed. Explanations to the Catalogue Hemmerle Jewellery Ring Bronze aquamarine Germany, Munich
Lot 240
A BRONZE FIGURE OF BUDDHA, THAILAND, 19TH CENTURY seated in sattvasana on a Chinese style throne, with bracket feet, his hands in bhumisparsa and dhyana mudra, the tightly curled hair with central miniature shrine, his head with flame usnisa 51cm high Provenance: Private collection, Southern England, acquired about 40-60 years ago.
Lot 44
A CHINESE BRONZE ARCHAISTIC VASE, MING DYNASTY, 17TH CENTURY pear-shaped body cast with four pendent blades with key-fret and linear decoration divided by a pair of stylised dragon handles, the neck with a band of strapwork below apocryphal Xuande marks, showing traces of gilt and silvered details 25cm high
Lot 125
A JAIN BRONZE FIGURE OF AMBIKA, WESTERN INDIA, DATED SAMVAT 1567 / 1510 AD the mother goddess seated in lalitasana, her child on her left knee and her lion at her feet, an attendant figure to her right, framed by a prabha with small seated figure of a jina at the top, dedicatory inscriptions in devanagari including date at the back 12.5cm high
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