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Lot 277
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Ollie the Otter Maquette signed, titled and numbered 10/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver Dimensions:20cm high (7 7/8in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 132
§ Breon O'Casey (British 1928-2011) Small Figure signed (to base), verdigris bronze on marble Dimensions:bronze 10cm high (4in high), 12.7cm high (5in high) including base Note: Breon O’Casey was part of one of the later waves of young avant-garde artists drawn to the bustling fishing settlement of St Ives, arriving in his clapped-out orange Ford transit in 1959. A studio assistant of Denis Mitchell and of the inimitable Barbara Hepworth, O’Casey became a member of the Penwith Society of Arts and an active participant in the artistic life of the town. Highly productive and constantly experimental, O’Casey moved across different media with ease, with his visual language translating across such diverse artforms as painting, jewellery, printmaking, weaving and sculpture. This broad skillset made him relatively hard to pin down from a critical point of view and possibly explains why the spotlight took its time to home in on this fascinating and respected figure within the St Ives School. Since O’Casey’s death in 2011 however, curators and collectors have driven a wave of renewed appreciation of the work of this fascinating polymath.Unconstrained to one medium, simple shapes of undulating and geometric form recur across much of his work. So too does a distinctive palette of earthy brown tones disrupted by jewel-like reds, greens and blues. His reference points are diverse: from his family roots in the Celtic revival (his father was Irish dramatist Sean O’Casey) and his interest in ancient and non-Western culture (for example the Navajo-inspired geometric patterns which appear in his weaving), to the distilled modernist forms of the Bauhaus and the work of St Ives forebears like Ben Nicholson.One key recurring motif is the number three, which took on an almost magical quality for O’Casey. We can note this in the iconography of some of the pieces offered here. In the 1966 assemblage, Construction, we find three simple bands of colour reading as an abstracted, minimalistic take on a natural landscape, to the more monumental Duo, which places three band-like shapes to delineate space in the pictorial plane.Sculpture became an increasing preoccupation, with O’Casey commenting that it “…took the place of weaving and jewellery as the antidote to painting. At first as a sideline, a relief from the anxieties of paint. But gradually it has taken on a more important role and I can say now that it is at least as important to me as painting and I devote an equal amount of time and thought to it.” O’Casey also remarked that, unlike his wholly abstract work in two dimensions, he was almost always drawn to figuration in his sculptural work, very often depicting birds or animals. In the excellent examples offered here we find his deceptively simple balancing act between modern and ancient lexicons, as well as the sense of an artist revelling in the joy of his craft.
Lot 271
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Playful Otter Maquette VII inscribed, titled and numbered 23/25, stamped with the foundry mark, polished bronze Dimensions:27cm wide (10 5/8in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 269
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Little Otter II, 1970 signed, dated, titled and numbered 4/7, stamped with the foundry mark, patinated bronze Dimensions:29cm wide (11 1/2in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 150
§ Denis Mitchell (British 1912-1993) Tumaco, 1970 signed DAM, titled, dated 70 and numbered 1/6 (to the underside of the base), polished and patinated bronze on slate base Dimensions:10cm high, 23.7cm wide (4in high, 9 3/8in wide); 13.5cm high (5 3/8in high) including base Provenance:ProvenancePrivate Collection, London.ExhibitedSt Ives, Penwith Galleries, 1970 (another cast, details untraced);London, Marjorie Parr Gallery, Denis Mitchell: Recent Sculpture 1969-71, 7-30 October 1971, cat. no.2, n.p. (another cast);St Ives, Wills Lane Gallery, 1971 (another cast, details untraced);Glasgow, Compass Gallery, Denis Mitchell: Sculpture, 20 February–15 March 1973 (another cast);Malta, National Museum, Denis Mitchell and Misomé Peile, May-June 1973 (another cast);Malta, National Museum, Circulating Exhibition No.40: Denis Mitchell - An Exhibition of Sculpture and Drawings, 1973-79, with tour to Cyprus, Greece, Yugoslavia, Malaysia, Indonesia, New Zealand and Korea, cat. no.11, illustrated p.9 (another cast);Swansea, Glynn Vivian Art Gallery, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, cat. no.19, illustrated, n.p. (another cast);St Ives, Penwith Galleries, Drawings, Paintings, Sculpture 1932-1992, 30 June-1 August 1992, cat. no.74, illustrated p.42 (another cast);London, Flowers East, Denis Mitchell, 1993, cat. no.38 (another cast);Swansea, Glynn Vivian Art Gallery, Denis Mitchell: Sculpture, 26 March-19 June 1994, cat. no.20 (another cast);Aldeburgh, 48th Aldeburgh Festival, Aldeburgh Cinema Gallery, Patrick Heron and Denis Mitchell, 9-25 June 1995, cat. no.24 (another cast).
Lot 275
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) The Otter, 1994 signed, titled, dated and inscribed IN MEMORY OF GAVIN MAXWELL (to base), Coniston Stone Dimensions:33cm high, 49cm wide (13in high, 19 1/4in wide) Provenance:Gavin Maxwell (1914-69) was a British naturalist and author, best known for his book Ring of Bright Water (1960), about an otter he brought back from Iraq to Scotland. The book sold more than a million copies and was made into a film starring Virginia McKenna and Bill Travers in 1969. Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 267
§ Hamish Mackie (British 1973-) Leopard, 2017 signed, dated and numbered 2/12, patinated bronze Dimensions:31.7cm high, 69cm wide (12 1/2in high, 27 1/8in wide) Provenance:ProvenancePurchased directly from the artist;Private Collection, UK. Note: “It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material – in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.” (Hamish Mackie)
Lot 274
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Sutherland Nude, 2007 signed, titled and dated (to base), Ledmore marble Dimensions:44.5cm wide (17 1/2in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 272
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Dancer III signed, titled and numbered 2/7, patinated bronze on marble base Dimensions:70.5cm high (27 3/4in high) including base Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 273
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Diving Otter VI signed and titled, patinated bronze Dimensions:78cm high (30 3/4in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 197
§ Bernard Meadows (British 1915-2005) Fish Relief, 1955, Opus 19 from the edition of 6 and 1 A/C (6 bronze, 1 brass and 1 plaster), plaster Dimensions:39.5cm x 57.5cm (15 1/2in x 22 5/8in) Provenance:ProvenanceThe Artist (ex. 3684);Muller Collection;Gimpel Fils, London. ExhibitedGimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries,1995, p.138, BM35 for the bronze example.
Lot 270
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Lutra Lutra signed, titled and numbered 13/50, inscribed MS, polished bronze Dimensions:22cm wide (8 3/4in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 199
§ Bernard Meadows (British 1915-2005) Pointing Figure, 1967, Opus 91 3/3, verdigris bronze Dimensions:53.5cm high, 90cm wide (21in high, 35 1/2in wide) Provenance:ProvenanceGimpel Fils, London.ExhibitedSyon Park, Summer 1970, cat. no. 14;Royal Academy of Arts, London, British Sculptors, January - March 1972;Chalk Farm Library, London, 1975 - 2016 (long-term loan);Gimpel Fils, London, Collector's Choice, 16 January - 4 March 2017;Gimpel Fils, London, Modern British Sculpture, 3 October - 31 October 2017.LiteratureBowness, Alan, Bernard Meadows: Sculpture and Drawings, London: The Henry Moore Foundation in association with Lund Humphries, 1995, p.98, pl. 82, BM107, polished bronze example illustrated.
Lot 198
§ Bernard Meadows (British 1915-2005) Relief for Little Augustus, 1962 bronze Dimensions:36cm x 22cm (14 1/8in x 8 5/8in) Provenance:ProvenanceChappel Galleries, Chappel, 2001;Private Collection, London. ExhibitedChappel Galleries, Chappel, Bernard Meadows Drawings and Sculpture, 31 March - 21 April 2001.
Lot 276
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Heron Maquette numbered 9/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver Dimensions:14cm high (5 1/2in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
Lot 268
§ Hamish Mackie (British 1973-) Cheetah, 2017 signed, dated and numbered 4/12, patinated bronze Dimensions:38cm high, 68.5cm wide (15in high, 27in wide) Provenance:ProvenancePurchased directly from the artist;Private Collection, UK. Note: “It is close observation of my subject’s behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material – in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response.” (Hamish Mackie)
Lot 1372
Oriental items to include a Tang Dynasty style terracotta guardian figurine 26cm h, a Japanese bronze trinket tray with crane decoration and a jade rowboat figure. (3)jade chip under hat, terracotta statue with chips to base, bronze tray with small chip to rim, can not confirm age of items.
Lot 1754
3 x Doctor Who models of various makes: 1x Airfix Doctor, Martha Jones and TARDIS, set, 1x Character Online Doctor and Slitheen set (series 1), 1x Character Online radio-controlled Dalek battle pack comprising of: 1x Dalek Sec, 1x bronze Dalek, the Doctor. All are sealed in original packets, brand new.
Lot 1402
Corgi Toys Gift Set group of 2 comprising Gift Set 45 'RCMP' Mounted Police Set, Land Rover LWB and Horse Trailer in blue, with 'RCMP GRC' labels, and mounted rider figure, and Gift Set 47 Pony Club Set, Land Rover LWB and Horse Trailer in bronze, with 'Corgi Pony Club' labels, and mounted rider figure, both sets come in the original boxes, which do have damage to the box windows
Lot 297
A Special Constabulary bronze medal named to Albert E. Walters. Type D obverse (1937-1948). Plus the medal’s original card transit box, a newspaper clipping reporting on Alberts death in Morton, Derbyshire. Additionally there are 2 late Victorian era gilt and enamel medals with ribbons. One commemorates Victoria’s diamond jubilee in 1897, and the other would appear to be a Temperance Association medal, with an enamel royal coat of arms to the centre. Condition: very good to each. Gilt finish on medallions appears to be mostly intact, plus the enamels are also good.
Lot 15
A selection of WW1 and WW2 medals ephemera. To include: a WW1 medal pair, fibre dog tag, and later Special Constabulary long service medal, awarded to 45891 Pte Harry Charles Woodfield of the Machine Gun Corps. The Special Constabulary Medal also has a Long Service Claps dating from 1955. Plus, a WW2 medal pair (1939-45 War medal & Defence Medal) issue box and RAF service and release book, issued to 961298 K.H.Woodfield. A Post War Womens Royal Voluntary Service Medal with 2 long service clasps and slips, awarded to a Mrs Woodfield, an ATS and VAD release book name to E.Woodfield. Also included are 4 Victoria College of music prize medals (2 sterling silver and 2 bronze) and a studio photograph of Professor Dorothy May Wilson nee Smith, from 1924.
Lot 369
A WW2 era German Anschluss Medal, with ribbon and pin-back clasp. Issued to commemorate the annexation of Austria in 1938. Silvered finish over a bronze alloy base metal. Condition: generally good. Age related toning to the silvered finish, with much detail still remaining. The original ribbon is a little soiled, and there is an ink stain to the top right corner near the pin clasp.
Lot 196
A scarce WW1 original 25th County of London (Cyclist) Battalion cap badge (1908-1919). Bronze officer quality, with slider to the rear. Plus, an original WW1 era cast brass Tank Corps cap badge by J.R.Gaunt & Son, London. The lugs have removed and replaced with a slider. Also, a selection of WW1 / WW2 caps badges or trade badges for various regiments, a WW2 era GSTP pocket watch by Leonidas, and white metal 1914 dated bayonet pin brooch. 17 items. Condition: generally good to most pieces. Old ingrained polish to a few of the items, plus one or two spots of verdigris. A couple of the badges are a little bent from use on a cap, and the antelope to the Warwickshire Reg badge is missing its horns. The pocket watch runs only briefly when wound, and is likely in need of a service.
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