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![* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaque](https://cdn.globalauctionplatform.com/bb56183a-a288-4c5b-9887-ac3f00a88bf2/deb6bb3c-5485-4283-8527-ac4100ff75e5/468x382.jpg)
Lot 353
* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaquette, showing the scourging of Christ at the pillar below a twin barrel-vaulted ceiling, initialled P.V.R. to lower edge, integral hanging loop to verso, 14 x 10.5 cm (5.5 x 4 ins)Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Literature: Douglas Lewis, 'The Plaquettes of "Moderno" and His Followers', Studies in the History of Art , volume 22, 'Symposium Papers IX: Italian Plaquettes', Washington, 1989, pages 105-141. Galeazzo Mondella (1467-1528), prominent goldsmith and guild master of Verona, and perhaps the most accomplished artist of Italian Renaissance plaquettes. His work, which included both sacred and profane subjects (including the Labours of Hercules and the Life of Christ) was influenced by Mantegna and other artists in his native Veneto, as well as by fellow artists such as "Antico" (Pier Jacopo Alari Bonacolsi, circa 1460-1528), whose "trade" name almost certainly influenced his own. 'P.V.R.' may represent the name of the foundry that created this later casting.
Lot 24
Sydney Alex Kumalo (South African, 1935-1988)Girl with Dove signed and dated 'Kumalo '63'bronze35 cm. (13 3/4 in) highthis work is accompanied by the signed and dated terracotta model which is inscribed 'Girl with Dove', (2).Footnotes:ProvenanceA private UK collection.This recently re-discovered bronze is similar to the 1963 example found in the Rupert Museum, Stellenbosch. A later editon (with a different shape to the dove's wings) was produced by Linda Goodman (founder of the Goodman Gallery) from 1977-1997.The terracotta was illustrated in an article on the 1963/64 Amadlozi Group farewell tour of Italy.ExhibitedJohannesburg, Adler Fielding Gallery, 'Sculpture . SA', Sept 1967, no. 53 (Terracotta).IllustratedCohen, Lynette, L. 'The modern movement in South African sculpture', UCT, pub 1964 , illust no. 64 (Terracotta).Gasparotti, G., 'La Vernice', Venice, illust, pg. 174, (Terracotta).For further information on this lot please visit Bonhams.com
Lot 57
Dylan Lewis (South African, born 1964)Leopard Lying on back maquette signed and numbered 'Dylan Lewis/ 9/15' and bears foundry mark to cast; inscribed with artist name, title, catalogue no. 'S82/9', edition no '9/15' and cast date '07/2001' (to plaque on the base)bronze21 x 46.5 x 40cm (8 1/4 x 18 5/16 x 15 3/4in).For further information on this lot please visit Bonhams.com
Lot 60
Anton van Wouw (South African, 1862-1945)The Art Student signed, inscribed and dated 'A. van Wouw / Pretoria 1902' (to chest verso); inscribed 'G. Nisini fuse-Roma' (to base)bronze32cm (12 5/8in) high.Footnotes:ProvenanceThe collection of John William Quinn, mayor of Johannesburg 1905-06;By direct descent to the current owner.ExhibitedSouth Africa, Rembrandt van Rijn Foundation touring exhibition, Pierneef Van Wouw; paintings and sculptures by two South African Masters, 1980-81, no. 42, illustrated p.17, (similar cast).LiteratureA.E. Duffey, Anton van Wouw: The Smaller Works, (Pretoria, 2008), illustrated pp. 33-35, (similar cast).The present lot depicts George E. Gordon Leith (1885–1965) whilst a student to van Wouw. Leith was born in Knysna and his family moved to Pretoria in 1889. From the ages of fourteen to sixteen he was drawing and modelling under van Wouw's guidance and through this he made the acquaintance of many artists including J.H. Pierneef, Fanie Eloff and Frans Oerder.Gordon Leith was later to become an eminent architect working in the classical tradition established by Sir Herbert Baker.'On his lap he has a rectangular drawing board on which a large eraser can be seen on the right at the top and the drawing paper is placed at an angle. In front the drawing board rests on a single thin leg, which is placed on the base of the small sculpture, between the boots of the boy. The boy wears an overcoat and bends forward, with full concentration, over his drawing board, which he draws against his stomach with his left arm. Even in this early small sculpture one becomes aware of van Wouw's obsession with fine detail such as the pocket knife behind the boy on the wooden box, the loose hanging straps of the overcoat, the cross-threaded shoelaces and the grain of the wooden box.' BibliographyA. E. Duffey, Anton van Wouw: The Smaller Works, (Pretoria, 2008), p. 33For further information on this lot please visit Bonhams.com
Lot 565
JAN VAN DER VAART (1931-2000); a double ringed stoneware vase covered in bronze glaze, incised signature and dated 1966, height 11.5cm. (D)Van Der Vaart was an influential Dutch ceramist known as founder of abstract-geometric ceramics in the Netherlands.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 636
JANE BRIDGER; a stoneware bowl covered in pale turquoise glaze and bronze rim, impressed mark and sticker, diameter 15.5cm. (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 643
CHRIS CARTER (born 1945); a waisted stoneware vase with oval top and textured surface and a 'Coptic' bottle form covered in bronze glaze, impressed CCP marks, tallest 39.5cm (2). (D)Provenance: Purchased from Bevere Gallery, Worcester, 2016.Additional InformationProfessional restoration to body of bottle form, 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 674
EMMANUEL COOPER (1938-2012); a stoneware charger covered in eruptive bronze glaze, impressed E mark, diameter 39cm. (D)Provenance: Exhibited at 'Emmanuel Cooper OBE, 1938-2012. A Retrospective Exhibition', Ruthin Craft Centre and touring to University of Derby and Contemporary Applied Arts, London, 2013-2014; purchased from Contemporary Applied Arts, 2014.Additional InformationGlaze misses to edge of rim, otherwise appears good with no further 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 675
EMMANUEL COOPER (1938-2012); a porcelain stem bowl covered in pitted turquoise glaze with bronze rim and gold highlights, impressed E mark, made 1990s, height 15.5cm. (D)Provenance: Exhibited at 'Emmanuel Cooper OBE, 1938-2012. A Retrospective Exhibition', Ruthin Craft Centre and touring to University of Derby and Contemporary Applied Arts, London, 2013-2014; purchased from Contemporary Applied Arts, 2014.Literature: Illustrated in 'Emmanuel Cooper OBE, 1938-2012' by various authors (Ruthin Craft Centre, 2013), page 57.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 737
DIANA M FERRARI for Glensluain Pottery; at large bellied pot covered in bronze glaze with incised linear decoration on a wooden base, pottery sticker, height 59cm. (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 791
LOUIS HANSSEN (1934-1968); an altered stoneware bowl covered in bronze glaze with fluting around the middle and a small perforated bowl, largest diameter 29cm (2).Provenance: Purchased from The Craftsmen Potters Association of Great Britain, London, 1964 and Primavera, London, 1965.Additional InformationAppears good with no obvious signs of faults, damage or restoration.
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