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Lot 81
A 19th Century English gilt bronze and painted porcelain Clock Garniture, the clock with cherubs surmounted and draped with flowers, dial with Roman numerals on a shaped inverted base; together with matching pair of painted porcelain and ormolu mounted urn shaped Candlesticks on square bases with hairy paw feet. (3)
Lot 140
An 18ct gold Chronographe Suisse gentlemans wristwatch with twin subsidary dials, bronze dial and tan leather strap, outer case marked 18k 0.750. Condition: dent to side of watch case, some minor wear and scratches to dial, currently working, winds ok, adjust is a little sticky but works, some scratches and wear to case.
Lot 121
SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.
Lot 122
SIR ALFRED GILBERT R.A. (1854-1934)PERSEUS ARMINGbronze, raised on a verde antico marble plinth36.5cm high (bronze), 40cm high (with plinth)Provenance: The Fine Art Society, LondonNote: Alfred Gilbert was born in London and joined the Royal Academy in 1873 before going on to study at the École des Beaux-Arts and becoming one of the most influential sculptors of his generation and the New English Sculpture movement. Gilbert’s international career took him to Rome from 1878 until 1884 where he learnt the 'cire perdu' or ‘lost wax’ technique of bronze casting and was one of the first artists to reintroduce it in England. Gilbert sought to reinvigorate classical myths in order to make them more relatable to a modern audience, stating to Joseph Hatton about Benvenuto’s Cellini’s bronze Perseus and Medusa that ‘’amazed as I was by that great work it still left me somewhat cold, insomuch that it failed to touch my human sympathies’’. Gilbert’s Perseus Arming was commissioned by Sir Henry Doulton and won an honourable mention at the Paris Salon in 1883. Rather than depicting Perseus in the dramatic aftermath of slaying the Gorgon Medusa, Gilbert’s Perseus Arming is instead a sensitive portrayal of the young hero anxiously checking his winged sandals. Gilbert stated ‘’I conceived the idea that Perseus, before becoming a hero was a mere mortal and that he had to look to his equipment’’ which was a radical departure from the traditional iconography associated with the heroic masculine figure. Gilbert adopts the classical figura serpentinata and free-standing bronze statuette, which were both celebrated features of Italian Renaissance sculpture, but modernise the subject matter by humanising Perseus as an endearing and vulnerable adolescent. This psychological dimension was a key aspect of the New Sculpture movement and can also be seen in Gilbert’s Comedy and Tragedy which is often exhibited alongside Perseus Arming. Comedy and Tragedy captures the exact moment a theatre prop boy is stung by a bee as he rushes to the stage with a comedy mask. The boy is suspended on one foot as he twists to examine his injury, perfectly framing his anguished face in the gaping grin of the comedy mask. This dynamic pose reflects the New Sculpture’s emphasis on dynamic compositions as the narrative is most effectively appreciated in the round. The Latin subtitle Sic Vita meaning ‘Thus is life’ is perhaps an autobiographical aside referring to Gilbert’s mounting financial worries, dissatisfied clients and marital problems as he conceded “I was living a kind of double life at that time…with Tragedy in my private life, living my Comedy publicly”.
Lot 131
SIR WILLIAM HAMO THORNYCROFT R.A. (1850-1925)TEUCERbronze, signed in the bronze HAMO THORNYCROFT42.5cm highProvenance: The Fine Art Society, LondonNote: The champion Greek archer Teucer was one of the heroes of Homer's story of the Trojan War. When this bronze was exhibited at the Royal Academy in 1882 a quotation from Pope's translation of Homer was printed in the catalogue as the subject was unusual. Thornycroft admired the Elgin marbles, and his early works were in a Greek style. With 'Teucer', in emulation of the grandeur of Leighton's 'Athlete', he made a monumental ideal nude.
![[§] STANLEY THOROGOOD (1873-1953)THE MEDIEVAL JOUST, DATED 1913bronze relief plaque, depicting a medieval joust, within oak f](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/e30b5c6f-8556-40e0-e9e3-81e1cfca422a/468x382.jpg)
Lot 14
[§] STANLEY THOROGOOD (1873-1953)THE MEDIEVAL JOUST, DATED 1913bronze relief plaque, depicting a medieval joust, within oak frame, signed with monogram in the bronze and dated 191332cm x 42cm (bronze), 60cm x 51.5cm (including frame)Provenance: Paul Reeves, LondonNote: Born in 1873, Stanley Thorogood trained at Brighton School of Art and won a Gold Medal Travelling Scholarship to Italy and pursued an interest in medieval equestrian subjects as in these examples.
Lot 143
BRETBY ART POTTERYFLAMBÉ CERAMIC BOWL, CIRCA 1920moulded with a central rose flower and covered in red and green glazes, impressed maker’s marks BRETBY/ ENGLAND, associated hardwood stand, 28cm diameter; and a PILKINGTON’S WAISTED VASE, CIRCA 1910, covered in a bronze glaze, impressed maker’s marks to base, 14.5cm high (2)Provenance: Paul Reeves, London
![[§] STANLEY THOROGOOD (1873-1953)THE VICTOR: KNIGHT OF THE RED ROSE, DATED 1915bronze relief plaque, within walnut frame, sig](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/c665c656-a1f7-4514-e6ce-b1b926cf8a03/468x382.jpg)
![[§] GILBERT BAYES (1872-1953) SAINT CHRISTOPHER CARRYING THE CHRIST CHILD, 2000bronze, inscribed in the bronze F.A.S. 1/841cm](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/fb61c7b6-64ae-4eb7-fcba-fe79c323e510/468x382.jpg)
Lot 18
[§] GILBERT BAYES (1872-1953) SAINT CHRISTOPHER CARRYING THE CHRIST CHILD, 2000bronze, inscribed in the bronze F.A.S. 1/841cm highProvenance: The Fine Art Society, LondonLiterature: Irvine, Louise and Atterbury, Paul, ‘Gilbert Bayes: Sculptor 1872-1953’, Richard Dennis 1988, p. 186 illus.Note: First produced in 1953, this figure was inspired by the Royal Automobile Club Plaque d’Honneur of the same year. An edition of eight was cast by the Art Bronze Foundry, from the original bronze and plaster figure, held by the Bayes Trust, by The Fine Art Society in 2000, of which this is the first cast.
Lot 21
PAIR OF ROMAN STYLE PATINATED BRONZE TORCHÈRE LAMPSMODERNwith curved glass shades above cast 'drip trays' and four outscrolling supports, raised on slim-reeded columns, with leaf-cast tripod bases and hoof feet, wired for electricity (2)126cm high (excluding fittings and shade), 155cm high overall
![[§] HAMISH MACKIE (B. 1973)JACOB RAM HEADbronze, numbered edition of 12, signed in the bronze HAMISH MACKIE/ 2009/ 7/1248cm h](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/8c019bd1-1b33-459c-b18d-276571917587/468x382.jpg)
Lot 471
FREDERIC, LORD LEIGHTON (1830-1896)THE SLUGGARDbronze, with dark brown patina, inscribed to the base THE SLUGGARD and signed FRED. LEIGHTON, on a hardwood stand55cm high overallProvenance: The Fine Art Society, LondonNote: Sir Frederic Leighton was one of the pioneering figures in New English Sculpture, who during his eighteen year period as President of the Royal Academy, succeeded in elevating the status of British sculpture through teaching and exhibitions. Leighton became known as the father of New English Sculpture as a result of his guiding influence over the new generation of sculptors like Alfred Gilbert who recalled that the students at the Academy ''all had an ideal to emulate Leighton in his aims in Art''. The original figure of 'The Sluggard' is a life-size bronze sculpture and one of Leighton's seminal artworks. The clay sketch was exhibited at the Royal Academy's Exhibition in 1896 with a fig leaf over his genitalia in order to avoid sexualising the sculpture when on display to the Victorian public. The muscular youth languidly arches his back in an elegant contrapposto pose in the manner of classical Greco-Roman sculptures which celebrated the athletic male nude as the pinnacle of perfection. The work was initially titled Athlete Awakening From Sleeping in reference to the quick clay sketch Leighton made of his life model Giuseppe Valona who rose to stretch after a particularly long sitting making this sculpture an intriguing marriage of idealism and naturalism. 'The Sluggard' has been interpreted by Benedict Read as Leighton freeing himself from the shackles of sculptural convention as his work abandons frozen classical prototypes for a distinctly modern pose.
![[§] STEPHEN CHARLTON (B. 1958)BOXING HARESbronze (2)102cm and 90cm high](https://cdn.globalauctionplatform.com/1304ecaf-2163-4f92-bf18-a95900c00e1f/2d6a6bde-4668-4941-e9f4-a58eb9880608/468x382.jpg)
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349674 item(s)/page