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Lot 416
1940s/50s London Transport enamel BUS STOP FLAG, the 'request' version. Double-sided with two enamel plates inside a bronze frame. Carries 'Fare Stage' stickers for trolleybus routes 601, 602, 603. Measures 18" x 16" (46cm x 40cm) and retains its original fixing rods. A few small blemishes but generally a very good example. [1]
Lot 291
1940s/50s London Transport enamel BUS STOP FLAG (compulsory). An E3 type with runners for 3 e-plates on each side. Double-sided with two enamel plates inside a bronze frame, both fixing rods are present. Measures 18" x 21.5" (46cm x 54cm). A very good example with just a few small blemishes. [1]
Lot 442
1940s/50s London Transport enamel BUS & COACH STOP FLAG (request). An E3 type with runners for 3 e-plates on each side and comes with 2 enamel E-plates: 71 & 418. Double-sided with two enamel plates inside a bronze frame. Measures 18" x 21.5" (46cm x 54cm). A most unusual version of the framed variety. In ex-use condition with some small chips and rather weathered on one side. [1]
Lot 117
1940s/50s London Transport enamel BUS & COACH STOP FLAG (compulsory). An E3 type with runners for 3 e-plates on each side and comes with an enamel G-plate 'Notice to Drivers - Headstop'. Double-sided with two enamel plates inside a bronze frame. Measures 18" x 21.5" (46cm x 54cm). A most unusual version of the framed variety and in excellent, ex-use condition apart from one small chip. [1]
Lot 279
1940s/50s London Transport enamel BUS & COACH STOP FLAG (bus compulsory, coach request). An E3 type with runners for 3 e-plates on each side and comes with 2 enamel E-plates: 463 & 714. Double-sided with two enamel plates inside a bronze frame. Measures 18" x 21.5" (46cm x 54cm). A most unusual version of the framed variety and in excellent, ex-use condition. [1]
Lot 257
1930s London Underground enamel PLATFORM BULLSEYE SIGN from East Finchley station on the Northern Line. This ex-LNER station became part of the Underground in 1939 from when this sign is believed to date. A 3-part sign complete with original bronze frame. Measures 60" x 42" (152cm x 107cm). Lightly weathered in places but generally a very good example. [3 parts + frame]
Lot 35
1940s/50s London Transport enamel BUS STOP FLAG (compulsory). An E3 type with runners for 3 e-plates on each side (one runner missing). Double-sided with two enamel plates inside a bronze frame, both fixing rods are present. Measures 18" x 21.5" (46cm x 54cm). One runner is missing as is one screw from the top part of the frame but a very good example in all other respects. [1]
Lot 161
Sally Arnup FRBS, ARCA (1930-2015) ''Two Week Old Chick'', (1977) Signed and inscribed A/C, bronze, 17cm high Provenance: From the artist's estate See illustration Sally Arnup was one of the finest animal sculptors of her generation. Her passion for and affinity with both material and subject, and her insistence on working from life, shines through in the sheer vitality and character in each and every sculpture. Sally Baynton-Williams was born in London in 1930; she recounted how at the age of two and a half she was given a lump of clay at nursery school and felt an instant fascination with the material. From a young age she set her heart on becoming a sculptor, and with the support of her family left conventional schooling at the age of 13 to train at Kingston College of Art. After spending a year at Camberwell School of Art, in 1950 Sally entered the Royal College of Art, where she would be tutored by eminent sculptors such as Frank Dobson and John Skeaping, who was himself a renowned animalier (see lots 167 and 168). Here she met sculptors Elisabeth Frink and Jacob Epstein, the latter whom she met whilst he was working on a monumental sculpture in Skeaping's college studio. In 1953 Sally married Mick Arnup, a painter and ceramicist whom she had met whilst studying at Kingston College of Art. In 1957 the Arnups moved to Holtby, near York, where they set up both home and studio to raise their four children and work together. Sally worked at the York College of Art from 1958 to 1972, where she was Head of Sculpture, and where Mick would become Vice Principal and Head of Foundation. Mick died in 2008, and Sally died in 2015 following a stroke. Their artistic legacy has been continued by their children; Hannah and Ben are well-regarded potters and Tobias a painter. Sally worked largely to commission, sculpting animals of all shapes and sizes. She insisted on working from life and liked to spend as much time with her subject as possible, studying their character, preferably in the animal's natural habitat or home. Animals were often taken to her studio; indeed, following a commission to make a sculpture of a swan for the Vintners Company in London, Sally borrowed two rescue swans from a sanctuary. Never working from photographs or rarely even sketches, Sally preferred to work directly in clay, a practise which shows through in the naturalism of her finished bronzes. This was a time-consuming process, and together with the complex lost-wax technique she employed to turn a clay model into a finished bronze, meant that Sally had a limited output of work during her career. Indeed, from start to finish, a life size sculpture could take three years to make. Sally worked every day except Sunday into her eighties, sculpting pets, working animals, farm animals and wildlife for private clients and institutions. Notable commissions included sculpting a cast silver leopard to present to HM the Queen by the City of York, which is now in the Royal Collection, and she also sculpted a life-size bronze of 'Storm', a fell pony, for Prince Philip, which she worked on in the stables at Windsor Castle. Her work has been exhibited around the world, including at the Royal Academy, the Royal Society of Artists, the Royal Society of British Artists. Sally was also a Fellow of the Royal Society of British Sculptors.
Lot 36B
After Laurence Stephen Lowry RBA, RA (1887-1976) ''Self Portrait'', ''The Artist's Mother''; ''The Artist's Father'' Each signed, a colour reproduction, framed as a triptich and issued with a bronze profile commemorating the artist's 88th birthday, from an edition of 300, 106cm by 52cm & 20cm by 22cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 188
Clemente Ochoa (b.1937) Spanish ''Generaciones'', (1988) Signed, bronze on a marble base, 26.5cm high (including base) ''Generaciones'', 1988 is a maquette for the original sculpture which is situated at Castelldefels, Barcelona Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 189
Herbert William Palliser (1883-1963) Portrait bust of John Harold Wood Signed, bronze, 37cm high John Harold Wood was awarded a gold medal for his rockery at the first Chelsea Flower Show in 2013 Sold together with an image of the garden and an article depicting HM the Queen at the first Chelsea Flower Show Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 167
Sally Arnup FRBS, ARCA (1930-2015) ''John Skeaping RA'' Signed and numbered 3/10, bronze, 14cm high Provenance: From the artist's estate See illustration Sally Arnup studied under John Skeaping at the Royal College of Art. He taught there from 1948 and was Professor of Sculpture 1953-9. Skeaping's work is notable for its depiction of animals, its simplicity of line and elemental quality resembling the prehistoric cave drawings found in France and Spain.
Lot 1007
A PAIR OF 19TH CENTURY FRENCH GILT-BRONZE AND MARBLE CANDELABRA, the three branches naturalistically cast as blossoming boughs, issuing from an urn-shaped body, applied with ribbon-tied floral swags, raised on circular bases. 39cm highThe gilt bronze has signs of verigre but there is no obvious chips or losses
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