A fine ship builder`s model of the single screw cargo ship "TREWIDDEN" built to the order of The Hain Steamship Co. Ltd, London by John Readhead & Sons, South Shields, completed in fine detail and contained within a bespoke bronze framed display case, the case 171cm w x 57cm high x 38cm deep. The Hain Steamship Co. was incorporated in 1901 and operated independently until 1917, when having lost 21 ships during the war and upon the death of director Sir Edward Hain, the company was purchased by P & O steam navigation company. The company maintained trading under the Hain name Until 1972 when all of the Ships of the Line were re- registered under the P & O name. The Trewidden sailed with Hain and P & O until 11th June 1972 and she was eventually broken up in 1979.
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A large bronze group, a Bedouin with a feather and a hawk, standing on a plinth (a.f.), 78 cm high See illustration Condition report Report by NG Right arm been broken and repaired. Left little finger broken and missing. Feather in right hand detaches. Grubby with nicotine residue and dust. Losses and rubbing to painted decoration. A couple of stress cracks are visible under base.
# FRED RICH: ""OSPREY"" 1983, a cast gilt and enamelled bronze medal, from an edition of 60. Bethan Willams: ""Gwyniad"" 1993, from an edition of 23, and Robert Cook: ""Zebra"" 1999, from an edition of 47 (3) Provenance: Christopher Drake Gallery, November 1982. The collection of the late Siva Swaminathan, (later Brendan Garry Nathan).
A FRENCH PATINATED BRONZE EWER of neo-classical form with a central handle and lid above a broad ovoid body with central spout with female head casting, flanked by similar masks, on a circular foot, probably circa 1820, 41"" high. See illustration Provenance: Acquired from Carlton Hobbs, London in 1993 The collection of James Fairfax A.C. Stanbridge Mill, Gussage All Saints, Dorset
DIEGO GIACOMETTI (1902 - 1985) `Fauteil aux Pommeaux de Canne`, designed c. 1963, Bronze with black patina and tan suede seat, 32"" high x 19 ½"" wide. Provenance: A gift to David and Pamela Sylvester from Diego Giacometti, c. 1963-1965 David Sylvester (1924-2001) and Pamela Sylvester enjoyed a long relationship with the brothers Alberto and Diego Giacometti. A first trip to Paris in 1947 and curious about Alberto`s peculiar new figure sculptures, David Sylvester secured a visit to Alberto Giacometti`s studios through his friend Daniel-Henry Kahnweiler. There began a relationship which would see David Sylvester, in his role as critic, author, friend and patron, curate and review exhibitions of Alberto`s work , gathering together in the process, the bones and flesh of his acclaimed book `Looking at Giacometti`. His wife Pamela Sylvester was crucial in translating David`s interviews with Alberto and Diego Giacometti as he acknowledges in the book: `Â…my oldest debts are to Â…Pamela Sylvester, who from 1950 on shared many of my meetings with Giacometti, gave help with research and, above all, drafted translations of passages from his writings and interviews, including all of my own interviews with him`. Such was the regard that the Giacometti brothers had for David and Pamela Sylvester, that in the summer of 1960, Alberto Giacometti embarked on a portrait of David, who sat more than twenty times for the artist. Today, Diego Giacometti is considered in his own right as one of the 20th century`s most important sculptural designers. Over 50 pieces of his furniture can be found in the Picasso Museum in Paris and many more embellish the homes of American and European collectors. Until Alberto`s death in 1966, Diego had largely been in the shadow of his elder brother, as a technical assistant in the production of Alberto`s bronze sculptures and a collaborator in the design of a range of household furnishings produced for interior decorator Jean-Michel Frank in the 1930`s. In his book `Giacometti: A Biography`, James Lord describes the beginnings of an autonomous Diego: `It was in the early fifties that Diego began making the bronze furniture for which he would finally be famous. The objects made for Jean-Michel Frank had never included tables, chairs, large itemsÂ…Because Diego had little work of his own to sell, he had few clients. His friends told their friends. The first happy few advertised their satisfaction. Gradually a clientele began to grow, with the result that one day a perfect stranger in search of an authentic Diego presented himself unannouncedÂ…In the passageway he chanced upon Diego himself, who inquired his business. The stranger said, ""Are you Monsieur Giacometti?"" To which Diego replied, ""No. You will find him in the Café at the corner of rue Didot`. As a symbol of gratitude for the recognition David and Pamela Sylvester had given his work, Diego gifted this chair to the couple shortly after the design for the chair was first conceived, between 1963 and 1965. Housed at the Sylvester`s London home, the proportions of the chair and it`s unfussy yet organic lines, were enriched by the multiple Francis Bacon studies, de Koonig drawings and eclectic Primitive and Islamic work of art they amassed during their marriage.
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