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Click here to subscribeEtruscan bronze situla handle composed of a central double ring with a scalloped shell above and below, flanked on either side by a hippalectryon, with the foreparts of a horse and the hind quarters of a cockerel, 9.5cm diam.Provenance: From the collection of the late Elizabeth Attridge 1934-2018. Collected from 1980's onwards.Acquired at Bonhams, London 14 May 2003, Lot 288..
A Roman bronze handle with two confronting ducks drinking from a central bowl, the curved handle formed from aquatic plants from which the ducks emerge, circa 1st - 3rd Century A.D., 21cm wide and a Roman/Medieval handle formed from a zoomorphic creature with ridged back, the remaining handle emerging from its mouth with a bell-shaped terminal, 22cm long (2)Provenance: From the collection of the late Elizabeth Attridge 1934-2018. Collected from 1980's onwards..
Parthian bronze openwork buckle, of a horned quadruped with elaborate mane and long notched horns, set within a rectangular frame with recesses around the frame and on the snout, mane and eye, traces of iridescence remaining in the recesses on the eye and snout, a raised leaf-shaped notch for attachment beneath the snout, circa 2nd - 3rd Century A.D., 6cm wide, on a Perspex stand,Provenance: From the collection of the late Elizabeth Attridge 1934-2018. Collected from 1980's onwards.Acquired at Bonhams, London 14 May 2003, Lot 544. .
Bernard Meadows (British, 1915-2005) Cockerel signed and numbered to the underside, 'Meadows 2/6' bronze maquette 29 x 21cm (11 x 8in) Provenance: Whitechapel Gallery, London, 'Pictures For Schools', 1954, where purchased by Hertfordshire County Council for Bowmansgreen Primary School, London. Other Notes: Bernard Meadows began his artistic career at the Norwich School of Art, later going on to study at the Royal College of Art and the Courtauld Institute. He became Henry Moore's assistant in 1936 and had a close relationship with the artist throughout his life. The present lot was most probably created in the years following Meadows' increased international recognition, gained in the wake of exhibiting his work at the Venice Biennale alongside a new generation of British sculptors, including Anthony Caro and Lynn Chadwick. Herbert Read coined this group of artists as the 'Geometry of Fear' School, and it was Meadows' work which perhaps most closely reflected this description. The expressive sculptural qualities of the present lot, executed in pitted bronze, embodied the artist's own mindset on humanity in the post-war era. The cockerel was a subject Meadows returned to consistently throughout the 1950s. Some works were heavily abstracted, their beaks open as though screaming in pain. This iconography was something Meadows elaborated on in some detail, noting 'I look upon birds and crabs as human substitutes, they are vehicles, expressing my feelings about human beings. To use non-human figures is for me at the present time less inhibiting; one is less conscious of what has gone before and is more free to take liberties with the form and to make direct statements than with the human figure'. Another much larger version of 'The Cockerel' remains on display at Bowmansgreen Primary School, London, and a similar maquette forms part of the permanent collection at the National Gallery of Scotland.
§ Georg Ehrlich, ARA (Austrian, 1897-1966) Two Sisters, c.1944 signed and dated 'Georg Ehrlich 1945 - 1946' and 'IN LOVING MEMORY / OF MIRA / LILLY BETTINA GEORG' bronze on a marble plinth sculpture, 79cm (31in) high, total height including plinth, 125cm (49in) high Georg Ehrlich sold his existing memorial cast of 'Two Sisters' (1944) to Essendon Primary School, Welwyn Garden City in 1947 as part of the Hertfordshire schools' initiative. It was originally cast as a private memorial, most likely to Ehrlich's daughters. Ehrlich's work can be found in the Tate Gallery, British Museum and the Victoria and Albert Museum. His work, 'The Young Lovers', stands in the garden at St Paul's Cathedral. He also produced bronze busts of both Benjamin Britten, Baron Britten, OM CH and Sir Peter Pears, CBE.
GABRIEL ARGY - ROUSSEAU: A PATE-DE-VERRE "CHRYSANTHEMUM" GLASS LAMP, pull-off metal leaf cover, cylindrical tapering shade decorated with a frieze of chrysanthemum flowers, cast signature, raised on a tripod bronze circular base with incised geometric decoration, 16cm high Literature, Janine Bloch-Dermant G Argy-Rousseau Glassware as Art, Thames & Hudson, page 47 figure for similar reference. Condition Report: Few very very minor nibbles to top rim, otherwise appears very good with no visible damage or restoration.
•ERNST EISENMAYER (Austrian 1920-2018) 'Old Jack' a head and shoulders profile portrait of Joseph John 'Jack' Gover, signed and dated 1944 lower right, oil on canvas laid on board, 55cm x 45cm Ernst Eisenmayer was born in Vienna in 1920 to poor Austro-Hungarian Jewish parents. During an attempt to reach France from Vienna following the annexation of Austria in 1938 He was arrested in Saarbrücken on the French-German border and transported to the infamous Dachau concentration camp. Fortunately for Ernst, his younger brother Paul had reached Britain as a Kindertransportee, where his guardian, Professor JL Brierley, promised to sponsor Ernst in Britain. This secured his release from Dachau in April 1939, where he was possibly one of the last prisoners freed before the outbreak of the Second World War. However, arrival in Britain proved something of a Pyrrhic victory. In 1940 Eisenmayer was sent to five different British internment camps, including Onchan on the Isle of Man, where he made objects for warehouse exhibitions and wrote for the camp newspaper. His monochrome 'Violinist at Onchan' was later published as a stamp motif of the Isle of Man. In 1944 he showed work for the first time in an exhibition on Austrian art in exile. Two years later he enrolled at Camberwell College of Arts and studied there until 1947. Initially he focused on painting but later began creating sculptures and works with welded steel, bronze and stone. Acquiring British citizenship after the war, he worked temporarily as a toolmaker, painting in his free time under the guidance of the Austrian artist, poet and playwright Oskar Kokoschka, who became a key influence and supporter of his career. The City of Vienna awarded him the Medal of Honour for his artistic work. A short film by Frances Lloyd on the early work of Eisenmayer was shown at the Jewish Museum of Art as part of their 2009 exhibition, "Forced Journeys: Artists in Exile in Britain 1933-45." It describes the artist's deportation from Munich central station. The curator Rachel Dickinson considered his contribution to the exhibition as the "greatest aesthetic revelation." In 1975 Eisenmayer left England for Italy where he lived until 1988, then moving to Amsterdam until 1996. He returned to Vienna and lived in the Maimonides Center, a Jewish retirement home. His last two retrospective exhibitions were Art beyond Exile and The Dignity of Man. Condition Report: one area of 'bubbling' of canvas where it is not affixed to the backing board, otherwise works appears to be in good condition with no obvious signs of damage or restoration
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