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Lot 218
dating: late 17th Century provenance: Italy, Wooden structure, covered with red velvet, richly decorated with seams and floral motifs in gilded thread, parts missing mostly on the central-left part; a cylindrical, bronze, embossed ornament at the knob's peak, adorned with a bearded face, grooves and floral motifs. Red, brocade saddle-pad with floral weave and applications in gilded thread and velvet bands, leather bottom part. Parts missing and defects. length 51 cm.
Lot 126
dating: 20th Century provenance: Peru, Wooden, leather-covered structure, seat part decorated with foliage in bass-relief, lateral parts chiselled with floral motifs, front band decorated en suite and with white metal mount (silver?), with monogram 'MPZ'. Back band with a buckle with two, bronze hooks. length 43 cm.
Lot 344
dating: 18th Century provenance: Timor, In bronze, with articulated mouthpiece and pointed lugs, the ends with big rings of lozenge section, decorated with two, small wings, very big side studs inside, disk-shaped, pierced and engraved, with rectangular openings for reins. dimensions 21 x 17 cm.
Lot 347
GEORGE VI DISTINGUISHED MEDAL SERVICE (DSM) GROUP awarded to Stoker Petty Officer P. McKeon O/KX 81234 HMS Dolphin. The medal group comprises a Distinguished Service Medal, Long Service and Good Conduct Medal, War Medal 1939-45 with bronze oak leaf, Burma Star with Pacific clasp, Africa Star with North Africa 1942-43 clasp, Atlantic Star and 1939-1945 Star. Together with Submarines O.C.A. fabric badge, For Loyal Service lapel, two Royal Artillery handkerchiefs, Apostleship of the Sea Seafarers' Barbados Branch Daily Prayers card booklet, handwritten letters written aboard HMS Sikh, War Gratuity & Wages slip, certificate of discharge, certificate of service, conduct record sheet, history sheet for Stoker ratings, passing certificate for Stoker Petty Officer, auxiliary machinery course for Stoker rating, newspaper cutting notifying death and notification of being mentioned in a despatch for distinguished service. Condition Report: Overall good condition with great supporting paperwork Some surface wear/scratches to medals but nothing significant. Consigned by family member.
Lot 314
WOLVERHAMPTON WANDERERS INTEREST - BILLY WRIGHT 1924 - 1994, 62 mm bronze commemorative medallion of an edition of 250 produced from the same bronze as the statue erected at the Molineux, in case of issue, along with the programme for the unveiling of the statue 12/9/1996 and a copy press photograph of the event
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)SEATED NUDE Bronze15cm high (6in)Note:Although a later casting of an edi](https://cdn.globalauctionplatform.com/7088030b-2e4c-40df-8dd2-a98400a55f5e/e7dc4513-d2be-47c7-b5a5-a996010cbccb/468x382.jpg)
Lot 86
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)SEATED NUDE Bronze15cm high (6in)Note:Although a later casting of an edition of 9 made from the plaster is known no other example of this lifetime cast has been recorded. John Duncan Fergusson is acclaimed as a pre-eminent member of the Scottish Colourists - a group of four artists that thrived with their shared interest and training in the French art scene. It is strange to think that a Scottish Colourist would choose a medium so restricted in colour, and he was the only of the four to work in three dimensions. Nonetheless, the period of 1918-22 saw the peak of his sculptural output, in which it can be assumed his Seated Nude mould was made. For Fergusson, sculpture presented new, provoking ways to manipulate and experiment with the human form, the physicality of his sculpture as exciting as the colour in his painted works. Lyon & Turnbull are delighted to be offering three sculptural works by the artist in this auction, all of which reveal Fergusson's fascination with the female form. The pose of Seated Nude is atypical, displaying the woman in a stance of meditation. Her legs are crossed, her arms are outstretched, and her head faces intently forwards. Standing Nude is a more typical pose for Fergusson, a strong and statuesque female figure stands with her arms clasped behind her, bringing one elbow to point up to the sky, the other drawing down by her side. While Head of Meg represents, in three-dimensions, the striking features of his long-term partner and muse, the dancer Margaret Morris.In many ways, the bronze figure of Seated Nude resembles icons of non-Western art - a field by which he was greatly influenced. Recall, perhaps, the ample imagery of sitting Buddha statues that can be found throughout the Asian continent. Cambodia and India, in particular, were of interest to Fergusson whose Celtic roots, he believed, were shared with these peoples. His time working in Paris, Edinburgh and London introduced him to museum collections of objects from foreign lands, and his highly intellectual approach to art certainly expanded his world view.Despite the noticeably continental influence on his work, there still remained this Celtic Spirit which he so passionately championed; his newfound interest in sculpture could be likened to the masonry carving of the Celts, his sculptures often suggestive of a certain primitivism in their figuration and handling. During the First World War, Fergusson spent time in Edinburgh directly carving in stone, following attempts in terracotta and clay throughout his stay in Antibes.Fergusson was producing sculpture alongside his modernist contemporaries working in Paris, such as Jacob Epstein and Constantin Brancusi who were all aligned in their similar choice of material and subject. Nonetheless, judged against concurrent work being produced in Britain, Fergusson's sculptural practice was highly unique in its investigation and rendering of the human form. The offered sculptures demonstrate an assured concoction of influences, cultures, and his intellectual outlook on art. They are one of a select group of pointedly under-appreciated, yet fundamental, sculptures from an artist whose work helped shape 20th Century Modernism.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)STANDING NUDE Numbered 8/9 (at the base), bronze24cm (9in) highNote: The](https://cdn.globalauctionplatform.com/7088030b-2e4c-40df-8dd2-a98400a55f5e/8dcb0db9-a1b2-4786-b7d0-a996010cbd90/468x382.jpg)
Lot 87
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)STANDING NUDE Numbered 8/9 (at the base), bronze24cm (9in) highNote: The bronze was conceived c.1914-1919. This work is from a later casting in 2013, which was cast in an edition of nine plus one artist's cast. It was cast at the Art Bronze foundry, with the assistance of the J.D. Fergusson Art Foundation.John Duncan Fergusson is acclaimed as a pre-eminent member of the Scottish Colourists - a group of four artists that thrived with their shared interest and training in the French art scene. It is strange to think that a Scottish Colourist would choose a medium so restricted in colour, and he was the only of the four to work in three dimensions. Nonetheless, the period of 1918-22 saw the peak of his sculptural output, in which it can be assumed his Seated Nude mould was made. For Fergusson, sculpture presented new, provoking ways to manipulate and experiment with the human form, the physicality of his sculpture as exciting as the colour in his painted works. Lyon & Turnbull are delighted to be offering three sculptural works by the artist in this auction, all of which reveal Fergusson's fascination with the female form. The pose of Seated Nude is atypical, displaying the woman in a stance of meditation. Her legs are crossed, her arms are outstretched, and her head faces intently forwards. Standing Nude is a more typical pose for Fergusson, a strong and statuesque female figure stands with her arms clasped behind her, bringing one elbow to point up to the sky, the other drawing down by her side. While Head of Meg represents, in three-dimensions, the striking features of his long-term partner and muse, the dancer Margaret Morris.In many ways, the bronze figure of Seated Nude resembles icons of non-Western art - a field by which he was greatly influenced. Recall, perhaps, the ample imagery of sitting Buddha statues that can be found throughout the Asian continent. Cambodia and India, in particular, were of interest to Fergusson whose Celtic roots, he believed, were shared with these peoples. His time working in Paris, Edinburgh and London introduced him to museum collections of objects from foreign lands, and his highly intellectual approach to art certainly expanded his world view.Despite the noticeably continental influence on his work, there still remained this Celtic Spirit which he so passionately championed; his newfound interest in sculpture could be likened to the masonry carving of the Celts, his sculptures often suggestive of a certain primitivism in their figuration and handling. During the First World War, Fergusson spent time in Edinburgh directly carving in stone, following attempts in terracotta and clay throughout his stay in Antibes.Fergusson was producing sculpture alongside his modernist contemporaries working in Paris, such as Jacob Epstein and Constantin Brancusi who were all aligned in their similar choice of material and subject. Nonetheless, judged against concurrent work being produced in Britain, Fergusson's sculptural practice was highly unique in its investigation and rendering of the human form. The offered sculptures demonstrate an assured concoction of influences, cultures, and his intellectual outlook on art. They are one of a select group of pointedly under-appreciated, yet fundamental, sculptures from an artist whose work helped shape 20th Century Modernism.
Lot 362
Assorted to include: Alsace Grand Cru, Clos Saint Imer, La Chapelle, Gewürztraminer Goldert, Domaine Ernest Burn, 2009, one bottle; Vin de Paille, Château de l’ Étoile, Appellation Étoile, J H Vandelle et Fils viticulteurs, 1988, one half bottle (good label, slight chip to wax seal); Vin de Paille, Château de l’ Étoile, Appellation Étoile, 1990, one half bottle (slight stain on label); Vin de Paille, Côtes du Jura, J L Morel, 1986, one half bottle (slight chip on wax seal); Vin de Paille, Cotes du Jura, J L Morel, 1987, one half bottle (médaille de bronze au concours départemental du Jura 1989) (slight chip on wax seal); Champagne Christian Pannier, Brut, one magnum (boxed, with paper wrapping, box dated 1998), two bottles and four half bottles in total
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