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Lot 425
† PETER WILLS (born 1955); a porcelain bowl covered in chrome-tin-pink glaze with bronze running from the rim and celadon to the well, incised signature and impressed mark, diameter 24cm.Provenance: Purchased from MIAR Ceramics and Arts, Hove, 2021.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 490
† ROBIN WELCH (1936-2019); an oval stoneware vessel partially covered in bronze glaze with blue rim, white band and rectangular panels picked out in dark blue enamel, impressed RW mark, height 28cm.Condition Report: Small glaze blow to inside rim, otherwise appears good with no further signs of faults, damage or restorations.
Lot 104
† CHRIS JENKINS (1933-2022); a large stoneware saddle covered in bronze glaze, impressed CJ mark, height 34cm, width 34cm.Exhibited at Briglin Pottery's Twenty-First Birthday Exhibition, London, 1969.Jenkins had been a decorator at Briglin Pottery in the late 1950s and was invited to exhibit his own work at the exhibition.Illustrated in Anthea Arnold, 'Briglin Pottery 1948-1990: The Story of a Studio Pottery in the West End of London' (Briglin Books, 2002), p. 54. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 491
† ROBIN WELCH (1936-2019); an oval stoneware vessel partially covered in patchy white glaze with a broad bronze rim and narrow rectangular panels picked out in red, black, white and blue enamel, height 22.5cm.Provenance: Damian Bullimore collection.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 486
† ROBIN WELCH (1936-2019); a tall oval stoneware vessel partially covered in patchy white glaze with a broad bronze rim and narrow rectangular panels picked out in copper, impressed RW mark, height 36.5cm.Provenance: Damian Bullimore collection.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 483
† ROBIN WELCH (1936-2019); a small stoneware bowl covered bronze glaze with white, black and purple enamel decoration, impressed RW mark, gallery sticker, diameter 12.5cm.Provenance: Purchased from Gordon Hepworth Fine Art, Exeter.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 428
† PETER WILLS (born 1955); a small porcelain bowl washed with iron glaze with a ring of bronze glaze and celadon to the well, incised signature and impressed mark, diameter 12cm.Provenance: Purchased from MIAR Ceramics and Arts, Hove, 2021.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 99
† CHRIS CARTER (born 1945); an angular stoneware bowl with textured surface partially covered in mottled bronze glaze, impressed CCP mark, diameter 20cm, and a similar open example with turquoise highlights, diameter 21cm (2). Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 205
A Pair of Oak Opentwist Candlesticks With Brass Sconces, 36cm high; together with an inlaid mahogany lancet form mantel clock, a gilt corbel, a carved alabaster table lamp, a pair of bronze effect table lamps of candlestick form, a pair of Japanese Satsuma style vases mounted as table lamps and a Victorian cranberry glass epergne etc (qty)
Lot 120
Chinese and Japanese Works of Art, including a Ming-style patinated bronze lotus plinth, Cloisonne rectangular box cover decorated with a mountain landscape, A Chinese bronze jar decorated with kylin and with associated Japanese cover, a Chinese provincial porcelain jar and a soapstone carving etc (one tray)
Lot 1115
Crafts and Woodworking Books, including: Dryad Handicraft Instruction Leaflets, Leicester, no date; Turner (W. J., ed.), British Craftmanship, Collins, 1948; Darley (Lionel S.), Introduction to Book Binding, Faber and Faber, 1976; Hough (Romeyn Beck), The Woodbook: The Complete Plates, Taschen, slipcase; and others on woodturning, metalwork, bronze casting, pottery, leatherwork etc. (2 boxes)
Lot 1131
~ A George III Figured Mahogany Press Cupboard, cross banded and raised on a base of two long drawers, cock beaded and with bronze lion mask and loop handles, the plinth with turned moulding and on fluted compressed bun feet, 120cm by 56cm by 192cmConverted for a hanging space, one door with a cracked upper left corner, some chips to the egg and dart carved base border and the usual wear to the feet
Lot 24
EDDIE CURTIS (born 1953); ‘Wrap Vessel’, from the 'Nagano Mountain' series, an oval stoneware vessel partially covered in copper red and bronze glaze, impressed EC mark, made 2006, height 21.5cm, width 21cm. “This piece is in response to a visit to the Nagano Mountains, Japan, in autumn 2004. The landscape was decked with Japanese acer in full resplendent autumnal colours with a dark shadowy backdrop of the Nagano Mountains stretching above”. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 21
† EMMANUEL COOPER (1938-2012); a small porcelain footed bowl covered in white glaze with copper green blushes and bronze rim, impressed E mark, made circa 1980, height 7cm, diameter 8cm.Donation courtesy of David Horbury, Emmanuel's partner. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 14
BALTASAR LOBO (1910-1993)Femme assise, mains croisées signed and numbered 'Lobo 2/8' (on the base), inscribed with the foundry mark 'Susse Frères Paris' and stamped with the 'Resyrgam' stamp (on the rim of the base)bronze with dark green patina49.5cm (19 1/2 in). highConceived in 1991, this bronze version cast by the Susse Foundry in 1991 in a numbered edition of 8, plus four artist's proofs.Footnotes:The authenticity of this work has been confirmed by Galería Freites.ProvenanceGalerie Daniel Malingue, Paris, no. 0553 (acquired directly from the artist).Private collection (acquired from the above).Connaught Brown, London.Private collection, London (acquired from the above in 2001).ExhibitedLondon, Connaught Brown, Lobo, Sculpture and Drawings, 2 May – 2 June 2001.LiteratureExh. cat., Baltasar Lobo, Caracas, 1993, no. 37 (another cast illustrated pp. 46 & 47).Exh. cat., Baltasar Lobo, Madrid, 2002 (another cast illustrated p. 35).Exh. cat., Baltasar Lobo, un Español de París, Madrid, 2006 (another cast illustrated p. 71).Exh. cat., L'escultura de Baltasar Lobo, Barcelona, 2006 (another cast illustrated p. 30).K. de Barañano, M.L. Cárdenas & M. Jaume, Catálogo razonado de esculturas de Baltasar Lobo, Vol. II, Madrid, 2021, no. 9115 (another cast illustrated p. 455).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 51
AUGUSTE RODIN (1840-1917) & ALBERT-ERNEST CARRIER-BELLEUSE (1824-1887)L'Innocence tourmentée par l'Amour signed, inscribed and dated 'Bruxelles 1871. Carrier-Belleuse' (on the base) and stamped with the foundry mark 'Cie Anonyme des Bronzes Bruxelles' (on the rim of the base)bronze with silvered and gilt patina65cm (25 9/16 in). highConceived in 1871, this bronze version cast by the Compagnie des Bronzes de Bruxelles by 1910.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté, currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenancePrivate collection, Belgium.Anon. sale, Sotheby's, London, 5 December 2012, lot 160.Acquired at the above sale by the present owner.ExhibitedBrussels, Musée Bruxellois de l'industrie et du travail, Fabrique d'art, Le bronze à l'oeuvre, 17 October 2003 – 10 April 2004.London, Nevill Keating Tollemache, Auguste Rodin, Sculpture, Drawings & Photographs, 6 – 30 June 2005.LiteratureS. Pierron, 'François Rude & Auguste Rodin, À Bruxelles', in La grande revue, 1 October 1902, p. 154.S. Pierron, 'François Rude & Auguste Rodin, À Bruxelles', in Études d'art, Brussels, 1903, p. 30.S. Lami, Dictionnaire des sculpteurs de l'École française au XIXe siècle, Paris, 1914, p. 283.J.E. Hargrove, The Life and Work of Albert Carrier-Belleuse, New York, 1977, p. 243.J. Van Lennep, 'Acquisitions. Un nouveau Rodin?', in La Lettre aux Amis des musées royaux des Beaux-Arts de Belgique, Brussels, July – September 1996.Exh. cat., Vers 'l'Age d'Airain', Rodin en Belgique, Paris, 1997, no. 5 (another cast illustrated p. 109).A. Le Normand-Romain, Rodin, Paris, 1997, p. 21.Exh. cat., Rodin, Les arts décoratifs, Evian, 2009, no. 6, p. 14 (the terracotta version illustrated pp. 15, 22 & 23).C. Buley-Uribe & A. Kurlander, Auguste Rodin, Intimate Works, Sculpture, Drawings and Watercolors, Photographs and Letters, exh. cat., New York, 2011 (the biscuit de Sèvres version illustrated).Exh. cat., Carrier-Belleuse, Le Maître de Rodin, Paris, 2014, no. 76 (the terracotta version illustrated).The present work is the result of a particularly fruitful collaboration between two of the leading sculptors of the 19th Century, Auguste Rodin and Albert Ernest Carrier-Belleuse. The Franco-Prussian War of 1870 led to the collapse of the Parisian market for fine bronzes and terracottas, forcing Carrier-Belleuse to relocate his studio to Brussels. In tow was his apprentice, Rodin, who had previously worked on statuettes at the master's Parisian workshop. Still relatively anonymous and yet highly technically skilled, Rodin went on to work in the studios of Brussels' leading sculptors until 1877.Carrier-Belleuse was renowned for his busts and figural groups that were executed in a decorative rococo style. The present work depicts a popular 19th Century subject, that of a young woman's sexual awakening, surrounded by winged putti who act as personifications of romantic love. The sculptural model for the present work was first attributed to Rodin by the Belgian critic Sander Pierron in the above-cited 1902 article. This attribution has been confirmed more recently by Antoinette Le Normand-Romain, Jérôme Leblay and François Lorenceau.The Compagnie des Bronzes de Bruxelles executed examples of the present sculpture in bronze, terracotta, marble and biscuit de Sèvres porcelain, with the final sculptures made by 1910. This cast is a particularly fine example, distinguished by its silvered and gilt patina which serves to heighten its decorative and romantic force as well as complement its rococo style. The original terracotta group now resides in the permanent collection of the Carnegie Museum of Art, Pittsburgh. Although scholars have remarked on the somewhat fraught relationship between the two sculptors, their mutual support did endure, with Carrier-Belleuse being among the group of artists who testified in defence of Rodin's famous Age d'Airain ('The Age of Bronze').For further information on this lot please visit Bonhams.com
Lot 273
*MARK CORETH (b. 1958) The 'Leopard in motion series: Leopard Landing' bronze, signed and numbered 2/6, 26.5cm x 24cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 272
*MARK CORETH (b. 1958) The 'Leopard in motion series: Leopard Springing' bronze, signed and numbered 2/6, 20cm x 33cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 268
*MARK CORETH (b. 1958) The 'Leopard in motion series: Leopard Moving Off' bronze, signed and numbered 2/6, 11.5cm x 29cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 267
*MARK CORETH (b. 1958) The 'Leopard in motion series: Seated Leopard' bronze, signed and numbered 2/6, 14cm x 12.5cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 266
*MARK CORETH (b. 1958) The 'Leopard in motion series: Lying Down Leopard' bronze, signed and numbered 2/6, 11.5cm x 15cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996 Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 271
*MARK CORETH (b. 1958) The 'Leopard in motion series: Galloping Leopard' bronze, signed and numbered 2/6, 11.5cm x 33cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 270
*MARK CORETH (b. 1958) The 'Leopard in motion series: Loping Leopard' bronze, signed and numbered 2/6, 12.5cm x 33cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 269
*MARK CORETH (b. 1958) The 'Leopard in motion series: Stalking Leopard' bronze, signed and numbered 2/6, 11cm x 33cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
Lot 274
*MARK CORETH (b. 1958) The 'Leopard in motion series: Leopard Kill' bronze, signed and numbered 2/6, 14cm x 29cm, on a rectangular green marble baseExhibited: 'Mark Coreth', Sladmore Contemporary, Berkeley Square, London, 1996 Provenance: Purchased from the above exhibitionBritish sculptor Mark Coreth is best known for his mastery of the depiction of movement in the animals he sculpts. Whether it is a charging elephant, a swift footed ostrich or a lithe cheetah in full sprint, Coreth's ability to freeze a moment in time has led to international recognition and acclaim. The 'Leopard in Motion' series follows the big cats movements in nine sequential studies, which see it move from a resting position, into a run, right up to the final moments where it catches its prey. Conceived in an edition of six, of which numbers 1-3 were reserved as full sets, the series showcase the animals combination of power, grace and determination mixed with the artist's ability to capture violence, speed, tranquillity and pathos with deceptive ease.
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