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Lot 137
A Japanese bronze figure of a macaque monkey, Meiji Period (1868-1912), the monkey in seated position clasping an inro in his feet, holding a netsuke and inspecting a netsuke with spectacles, the overall patination highlighted to the embroidered kimono with gilt foliate motifs, gilt signature plaque verso, height 19cm.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)EASTRE (HYMN TO THE SUN) Bronze, inscribed with initials, dated 1991 and](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/70858d59-9553-4d9e-9341-aa4900fbd6b6/468x382.jpg)
Lot 103
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)EASTRE (HYMN TO THE SUN) Bronze, inscribed with initials, dated 1991 and numbered 5/1040cm (15.75in) highNote:Fergusson carved the original in plaster in 1927, but kept it under his bed for three years before he found someone who could pay for it to be cast. It is believed only one lifetime cast was made, which is held in the collection of Aberdeen Art Gallery.A posthumous edition of 6 was cast in 1971 and a second posthumous edition of 10 in 1991, celebrating the Fergusson Gallery project, which opened in 1992. This bust is from the 1991 casting. In Eastre we see Fergusson bringing together three important strains of early twentieth Century art: Paganism, Primitivism and Modernism.Eastre is the Saxon Goddess of Spring and of the rising sun. An enthusiasm for Paganism amongst artists and musicians such as Stravinsky had emerged in the early twentieth century. Fergusson was particularly fascinated by Celtic culture and the observance of harmony and unity in nature and the concept of the female form as a symbol of fecundity, renewal and rhythm. In the South of France during the 1920s, the natural environment and bright sunlight resonated with both Fergusson and his partner, the dancer Margaret Morris, who was herself also involved in a ballet performance entitled Hymn to the Sun. The full lips of Eastre and the repeating curves forming the chest, neck and head convey her organic nature.Together with the revival of Paganism came an interest in non-Western 'Primitive' art which was widespread from around 1907. Fergusson sketched Cambodian and Indian sculpture in the Trocadéro Museum in Paris. The strong features and bold stare of masks made a particularly powerful impression on artists of the time. Here the deeply sculpted eye sockets of Eastre recall African and Oceanic wood carvings. Two years prior to creating Eastre, Fergusson had embarked on a motoring trip around the highlands. His landscapes from this journey convey the Vorticist movement's love of speed, as well as elements of Cubism in the way that the landscape is broken up into segments. Here, hints of Vorticism and an Art Deco sensibility are found in the polished finish and the bold lines running along the cheek bones, chin and eyebrows which create a dynamic composition. The warm tone of the bronze is evocative of strong sunshine, and a sense of the luxurious. Eastre represents the perfect homage to both primal nature and a celebration of modern style and energy. It is arguably the most significant sculptural work by a Scottish artist of the 20th Century; its scarcity further enhancing its iconic status.
Lot 64
DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.
Lot 128
VÍTĚZSLAV JUNGBAUER 1919 - 2003: A LAMP 1968 Metal, Plexiglas 32 x 21,5 x 7,5 cm Signed on back: "JUNGBAUER 68" Sculptor Vítězslav Jungbauer originally apprenticed as a wood carver under his father in Nebahovy, a village near Prachatice. At the School of Applied Arts in Prague he studied under Professor Karel Dvořák and Josef Wagner, graduating in 1948 before settling in Prague.His work is focused on the expressive reassessment of realistic forms in a modern sense for contracted form, working with both traditional materials (wood, stone, bronze) and malleable plastics. He executed a Plexiglas relief featuring the seal of Charles University for the university's medical faculty and a 80 m2 relief map of Prague for the Czechoslovakia 60 exhibition in Moscow and Kiev. Plastic enabled him to create objects that interact with light (i.e.,are transparent).
Lot 132
VINCENC VINGLER 1911 - 1981: INJURED HERON 1960s Bronze 49 cm Marked below on tail: "VINGLER" Sculptor Vincenc Vingler studied under Professors Jan Lauda and Karel Štipl at the School of Applied Arts in Prague. He worked as an artist at Unitaria Theater and the Prague Children's Theater, was the head stage set designer at Kladno Theater, and worked with Horácké Theater in Jihlava. He sculpted and drew, focusing on birds and animals. It was not until the end of his life that he created human figures. From 1949 he was a designer at the Czechoslovak Ceramics Factory; he was a member of the Union of Fine Artists and from 1947 a member of Umìlecká Beseda. He held his last solo exhibition at Old Town Hall in 1981. His work is extensively represented in the collection of sculptures and drawings at Prague City Gallery, which hosted a large exhibition of his work at Troja Chateau in 2014.
Lot 141
ZBYNĚK SEKAL 1923 - 1998: UNTITLED 1989 Bronze 20,6 x 31 x 12,2 cm Marked on back: "ZS 2/6" Sekal was a member of the Sixties generation of Central European modernist artists. His oeuvre spans the period from the late 1930s/early 1940s to 1997, when he was no longer able to work just a few short months before his death. As an artist who was fully part of the period unfolding after the end of World War II, when he found youthful inspiration in Surrealism, he is a part of the broad post-avantgarde movement. However, he did not completely identify with any movement, tendencies or groups, and remained a major independent figure. After studying at the Academy of Arts, Architecture and Design in Prague under Professor František Tichý, he soon was among the most interesting Czech artists of the 1950s and 60s. He defected in the late 1960s and from 1970 he lived in Vienna, where his work underwent further remarkable development.
Lot 39
JOSEF MAŘATKA 1874 - 1937: SYMPHONY 1912 Bronze 68,5 cm Marked on plinth on back: "J. Mařatka" Symphony, in which Mařatka materializes his fundamental relationship to music, was created during the period when he was executing monumental sculptures for the Municipal House in Prague (in 1911–1913 he sculpted the larger-than-life statues Drama and Music). In spite of his evident musical talent, young Josef Mařatka decided to study at the School of Applied Arts in Prague under Professor Celda Klouček (1889-1892), moving on toJosef Václav Myslbek’s studio at Prague’s Academy of Fine Artsin 1896. In 1900 he received a scholarship from the Hlávka Foundation for his sculpture Ice Harvesters on the Moldau, and he used the funds to travel to what was then the world center of art – Paris. After a rough start and unable to speak French, he entered the studio of Auguste Rodin, slowly forging a close friendship with the sculptor. It was in fact largely due to Mařatka that a large Rodin exhibition was held in Prague in 1902, which went on to have a fundamental impact on the period’s young generation of artists.Variant II is in the collections of Prague City Gallery (inv. no.: P – 742, plaster, 1913 and inv. no.: P – 1189, bronze, 1913).
Lot 60
A PALM CHANDELIER 1920s-30s Cast bronze, crystal pendants 97 x 60 cm This exceptional Art Nouveau chandelier by Austrian architect and designer Josef Hoffmann retains the form of irregularfloral segments. Palm leaves growing out of the stalk are set with crystal pendants. Eight lightbulbs provide the lighting.
Lot 70
ALFRED ZOFF 1852 - 1927: BEACH WITH BOATS IN BELGIUM 1920s Oil on canvas 27 x 30 cm Signed lower right: "A. Zoff" This painting with a fishing boat and a figure on the beach is an example of the unique painting of Alfred Zoff, one of the leading figures of Austrian Mood Impressionism in the early 20th century. In 1869 Zoff took landscape painting classes at the State Drawing Academy in Graz. By 1880 he had decided on art as a career and was enrolled at the Academy of Fine Arts in Vienna, where he studied under Eduard Peithner von Lichtenfels. After his father's death in 1882, his mother moved to Klagenfurt and he would visit often to paint. It remained a favorite location for the rest of his life.He also made occasional trips to Italy and Belgium. He completed his studies in 1890 at the Academy of Fine Arts in Karlsruhe under Gustav Schönleber, who acquainted him the Barbizon School. After that, he lived in Munich and Krems an der Donau. From 1907, he was a Professor of landscape and still-life painting at the Academy in Graz. He received numerous awards, including a bronze medal at the Exposition Universelle (1900). Member of the Künstlerhaus Wien (from 1883) and the Hagenbund (from 1900).
Lot 88
LADISLAV BENEŠ 1883 - 1956: SPEED, STRENGTH, RESISTANCE 1921 Bronze, marble 70 cm Marked on back: "L. BENEŠ" and debossed mark of Brothers Barták Prague. Inscriptions along sides of plinth: "RYCHLOST/ SÍLA/ ODPOR/ VÍTĚZI SOUTĚŽE SPOLEHLIVOSTI ČESKOSLOVENSKEM 1921 - MINISTERSTVO NÁRODNÍ OBRANY" ("Speed / Strength / Resistance / Winner o Sculptor Ladislav Beneš, together with Jan Štursa and Otakar Španiel, can unquestionably be included among the most important exponents of their generation, applying a new understanding of classicism to their work. Beneš composed the sculpture, which was commissioned by the Czechoslovak Ministry of National Defense, in the spirit of a new philosophy as an allegory of movement as represented by female nudes of Speed, Strength and Resistance. The modern era can also be sensed from the automobile, from which the towering sculpted figures are thrust forward.Ladislav Beneš, who studied under Professors Celda Klouèek and Stanislav Sucharda, was a member of the Mánes Union of Fine Artists in 1907–1934 and Umělecká Beseda from 1911. Although unfairly forgotten in his home country, his work has been exhibited in Cologne, Zagreb, Belgrade, Ljubljana, Munich and Vienna.
Lot 90
BŘETISLAV BENDA 1897 - 1983: THE MOTORCYCLIST 1928 Bronze 25 x 40 x 17 cm Marked on plinth: "B. BENDA" and "1/5" The Motorcyclist is an exceptional and prestigious work of Civilism, an art movement celebrating technical advances. Next to Stefan’s Bugatti and Švec’s Motorcyclist, this is another example from the poetry of civilian life in which the theme of sports and competitions takes center stage. The simple modelling of the motorcycle and the rider in the helmet is remarkable.After studying at the sculpture and stonemasonry school in Hoøice, Bøetislav Benda attended the Academy of Fine Arts and studied under Josef Václav Myslbek, continuing under Jan Štursa in 1919–1922 following an interruption in his studies due to the war. In 1923 he became a member of the Mánes Union of Fine Artists. Influenced by Otto Gutfruend, he gained experience in social art in the 1920s; otherwise his figurative sculptures, which mainly focus on the female body, are categorized as part of the Neoclassicism movement. He primarily worked with bronze and marble, often for public works. Towards the end of his life he collaborated with his son, Milan Benda (*1941).
Lot 92
EMANUEL KODET 1880 - 1954: LILA NIKOLSKÁ 1926 Bronze 87 cm Marked on plinth on right: "E. Kodet" Desire, passion, an ode to the beauty of the female body, a story of dance, capturing graceful curves in motion – Czech sculptor Emanuel Kodet imparted all this with timelessness and lightness in this statue of a prima ballerina. The model for the statue was a real woman, dancer and prima ballerina Lila Nikolska (also known in English as Jelizaveta, Elizaveta or Elisabeth and with the variant spelling Nicolska; born Elizaveta Nikolska de Boulkin). Her dazzling beauty can be found in many artworks, including a poster by Maurice Picaud or in František Drtikol’s The Dancer series.Kodet studied at the ceramic school in Bechynì and under Stanislav Sucharda at the School of Applied Arts inPrague. He resided in Rome for one year and exhibited at the Topiè Salon inPrague. Initially influenced by the symbolism in fin-de-siecle art, his work moved towards the monumentalism formed by Jan Štursa. He has created a number of important works, including the Žižka equestrian statue on Vítkov Hill in Prague-Žižkov, the Žižka Monument in Sudomìø, the Hus Monument in Sušice, and the pilasters on Charles University’s Faculty of Arts building inPrague.His sculptures and statues are dominated by an Art Nouveau view of the world transformed into female figures and nudes. His objects are far from static, masterfully capturing movement and the sensual expression of tension with exquisitely formed female curves.
Lot 93
VINCENC MAKOVSKÝ 1900 - 1966: A BUST OF TOMÁŠ GARRIGUE MASARYK 1930s Bronze on a marble base 42 cm (pedestal: 15 cm)42 cm This bust of the first president of Czechoslovakia, Tomáš Garrigue Masaryk, was created by the important sculptor Vincenc Makovský. After studying painting under Jakub Obrovský and Karel Krattner and sculpting under Bohumil Kafka and Jan Štursa at the Academy of Fine Arts in Prague (1919-1926), he travelled to Paris on a French government scholarship to work under Antoine Bourdelle. He spent World War II in Zlín, where he co-founded the Art School and was the head of the Instrument and Machine Forming department. After the war he settled in Brno-Obøany, where he lived and worked up until his death. He was a member of the Mánes Union of Fine Artists (from 1930) and Czech Academy of Arts and Sciences, was a founding member of the Czechoslovak Surrealist Group and a professor at the University of Technology in Brno (from 1947) and Academy of Fine Arts in Prague (from 1952). He has created a number of public artworks, primarily monuments, mostly in Brno but also around the Czech Republic and abroad. His son, Zdenìk Tomáš Makovský (* 1946), is also a sculptor and architect.
Lot 94
KAREL KOTRBA 1893 - 1938: PORTRAIT OF FRANTIŠEK KUPKA 1928 Bronze, cast from original plaster model 38,5 cm Sculptor Karel Kotrba created a number of portraits of important figures, including those on the art scene (such as Karel Holan, Jaroslav Kvapil, Otokar Březina, Jan Neruda, Václav Vilém Štech). This work is also a very authentic portrait of his friend František Kupka, created when the sculptor resided at the Kupkas’ in Paris in 1927-1928, and it apparently is the only thing he brought back home from the trip.Karel Kotrba originally trained as a stuccoer (in 1912–1913) and attended evening classes in sculpting at the School of Applied Arts in Prague. He fought in World War I and was a POW, returningto Czechoslovakia in 1919 as a French Legionnaire. Immediately after the war he applied to the Academy of Fine Arts in Prague and studied medal making under Professor Otakar Španiel, after which he went on a study trip to Paris. In the early 1920s he, Pravoslav Kotík, and classmates Karel Holan and Miroslav Holý joined Umìlecká Beseda. After five years at Umìlecká Beseda, they found themselves at the center of a conflict with the more conservative wing of the association. This conflict escalated in late 1924/early 1925 and they migrated to the Mánes Union of Fine Artists, where in contrast they were viewed as traditionalists. Following a conflict they were expelled in 1930. The name “Ho-Ho-Ko-Ko Social Group” was coined later, according to an anthology written by art aesthetician Bohumil Markalous (not published). Experiences from the war and life on the outskirts, in Prague-Holešovice, were reflected in Kotrba’s work. His sensitivity to social issues can be seen in his chosen themes and in his sculpting style, which is categorized as a part of the Social Art movement of the 1920s. He exhibited abroad at Czechoslovak exhibitions at the Venice Biennale (1930, 1936), Vienna (1934), Brussels (1935) and Stockholm (1936).Plaster copes of Portrait of František Kupka is included in the collections of the National Gallery in Prague and GASK – Gallery of the Central Bohemian Region.
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