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Lot 153
HAMISH MACKIE "English Partridge", a bronze study, chocolate brown patination, signed "HAM" and dated "2003", limited edition No'd. 6/12, 23.5 cm high CONDITION REPORTS Overall with light general wear and scuffs, but appears sound. Various rough areas including to underside, beneath wings, to base etc (please see photos for examples)
Lot 311
A large Chinese bronze censer, cover and stand, the cover with Dog of Fo finial on a body decorated sea creatures and dragon mask capped feet, on a pierced floral stand, 52 cm high overall See illustration Condition report Report by MW The total weight of the censer cover and stand is approx. 11.5 kg.
Lot 478
ROBERT LINDSEY CLARK A.R.B.S. (1892-1926) "THE BROKEN LIMBER", signed and dated 1924,cast and patinated bronze, 22" x 26.5", on a carved oak table stand, 54" high overall and fitted with turntable to enable rotation of the piece Provenance: Capt. W.N. McClean and thence by descent. Exhibited: Royal Academy, 1924, no.1551. Acquired at the end of the exhibition by Capt. McClean for £300. An Exhibition of Cheltenham Artists at Cheltenham Art Gallery, December 8th 1925 - January 16th 1925, by kind permission of Capt. W.N. McClean. Literature: `The Best, a history of H.H. Martyn & Co`, John Whitaker, Promenade Publications, 1998 `The Broken Limber` or `The Limber - A Broken Pole` was originally designed as Cheltenham`s Memorial to those lost in The Great War, and was envisaged to be a life size cast set upon a plinth of Portland Stone. The piece depicts two horses lunging to pull an eighteen pounder gun limber of the Royal Horse Artillery from the mud, being expertly controlled by a soldier who is riding one of the horses, despite the broken limber pole which has given under the strain. The bronze offered here is the prime version as exhibited at the Royal Academy in 1924. It appears from correspondence between the Artist and Capt. McClean that two replicas of the bronze had been commissioned at the time of the sale, and that these would be marked `Replica` and have an additional rifle butt amongst the debris at the bottom of the sculpture to distinguish them from the original cast. A replica of the bronze is in the collection of The Museum of Cheltenham. The correspondence between Robert Lindsey Clark and Capt. W.N. McClean is included in this lot.
Lot 37
William Lee Hankey Near The Cathedral, Granada (1914) Oil on canvas, 63.5 x 76cm (25 x 30") Signed Provenance: Paionel Gallery, London Exhibited: F.G Lee- Hankey is most noted as painter and etcher of French Harbour scenes and studies of English country life. He first studied a Chester School of art under Walter Shroeder, then at RCA under John Sparkes and concluded his education in Paris. Although Lee-Hankey lived for the most part in London, keeping a studio in Chelsea, he often spent long periods traveling throughout Europe and from 1904 onwards kept a house in Etaples in France. Here he stayed for much of the year and produced his main body of work. He returned to England upon the outbreak of the First World War to serve with the Artists' Rifles. He exhibited widely, at all the main London galleries including the Leicester, Fine Art Society and Lefevre Galleries; also at the Royal Academy, Goupil Gallery and ROI. He was elected RBA and RMS in 1896, RI in 1898, ROI in 1909, RE in 1911 sketching club between 1902-04 and a member of the Society of 25 Artists and in the late 1940's chairman of the Empire Arts Council. His work is represented in many collections England and abroad. The British Museum and Victoria and Albert Museum hold examples of his work. His work was shown internationally, winning a gold medal at the Barcelona International Exhibition and Bronze in Chicago. “Lee-Hankey was one of the early 20th century group of British artists, rather loosely described as English Impressionists. Like their progenitors they too broke away from tired academicism, seeking inspiration in the open air and painting scenes of everyday life what Eugene Boudin described as “La vie quatidienneâ€. Apart from Sickert and a few others many of them have not always received the critical attention they deserve, and this picture is surely an example of work that goes far beyond the mere representation of a picturesque scene, expressed with lively colour and accomplished draftsmanship. Though modest in concept and style it is something of a masterpiece, worthy of inclusion in any good collection of modern British Art, along side the Nash's Nevinsons, Pipers, et al. Cézanne spoke of “doing Passion, again after natureâ€. Lee-Hankey follows the precept by his journal precision and organization with the compositional stresses and strains of classicism, but also with a delicate touch of English lyricism. Note the subtle patterns of colour and shape, that delectable grey shadows, the careful placing of figures and horse, creating almost effortlessly, it would seem a tangible sense of space, just as Eugene Boudin could do. Then their s the unlaboured surface texture, emphasizing the picture plain and giving sensual pleasure. But above all is the light, not of the Turneresque kind, rather more of the Venetian 'vedute' Artists, with sunlight dancing across the surface is an almost musical sequence, expressing the artist love of his craft as well as the scene before himâ€. Yet for all that there is s sense of profound stillness, a dream-like quality that gives the work an extra dimension. Who could not respond endlessly to its charm. S P June 2002
Lot 83
F.E. McWilliam RUA ARA (1909-1992) Princess Macha (1957) Bronze, 47 x 26.5 x 20cm (18½ x 10½ x 8") Numbered 3/3t Signed with Initials Exhibited: Inaugural Exhibition "McWilliam at Banbridge" September 2008 - February 2009, to celebrate the opening of the F.E. McWilliam Museum, which then travelled to The Highlanes Gallery Drogheda XXXX; and "A Celebration of Irish Art and Modernism", The Ava Gallery, Clandeboye, June - September 2011, Cat. No. 33, full page illustration p.42
Lot 86
Imogen Stuart RHA (b.1927) St Kevin and the Blackbird (1998) Bronze, 19cm (7½") edition 7 On limestone base Exhibited: "Imogen Stuart Exhibition", The Solomon Gallery, March-April 2002, where purchased by the current owner Literature: "Imogen Stuart - Sculptor" by Brian Fallon, Catalogue Raisonne No. 216
Lot 87
Imogen Stuart RHA (b.1927) A Hug (1997) Bronze, 11cm (4¼") including base, edition 9 Artist's stamp verso Exhibited: "Imogen Stuart Exhibition", The Solomon Gallery, March-April 2002, where purchased by the current owner Literature: "Imogen Stuart - Sculptor" by Brian Fallon, illustrated p107, Catalgoue Raisonne 208
Lot 92
John Hughes, RHA (1865-1941) A Kneeling Nude with child Bronze, 28cm (11â€) high Signed & dated Paris 1907 Provenance: Sotheby's Irish Sale, May 2000, Cat. No. 90, where purchased by current owner. Exhibited: “The French Connectionâ€, The Ava Gallery, Clandeboye, August/September 2010. Ex. Cat.
Lot 27
Numismatics Mitchiner (Michael), Oriental Coins and their Values - The World of Islam, 2000, leatherette; Balog (Paul), The Coinage of the Ayyubids, 1980, dust wrapper; Spengler (William F.) & Sayles (Wayne G.), Turkoman Figural Bronze Coins and their Iconography, 1992-6, two volumes, dust wrappers; with a quantity of others including a number from the `Sylloge of Coins of the British Isles` series (qty)
Lot 28
Numismatics Grierson (Philip), Byzantine Coins, 1982, Methuen, first edition, dust wrapper; Spink & Son, Catalogue, with numerous illustrations, of a Collection of Milled English Coins, dating from the Reign of George I to that of her Present Majesty, and including Patterns and Proofs of Coins of that Period in Gold, Silver and Bronze, &c., formed by H. Montagu, 1891, original cloth gilt; Whitting (P.D.), Byzantine Coins, 1973, first edition, dust wrapper; Sutherland (C.H.V.), Roman Coins, 1974, first edition, dust wrapper (4)
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