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Lot 369
Calandrelli , Alexander (Berlin 1834-1903) Statuette von Friedrich III. Bronze, braun patiniert, auf runder Plinthe. Dunkelgrauer runder Marmorsockel (H 11,5 cm, Montierung gebrochen). Ges.-H. 34 cm. Auf der Plinthe sign. sowie bez. "Sec.18". Rücks. bez. "Aktiengesellschaft vorm. Gladenbeck & Bildgiesserei Friedrichshagen". Und: Statuette Friedrich II. Bronze, dunkel patiniert, auf rundem, braun gemasertem Marmorsockel montiert. Ges.-H. 17 cm. (60310)
Lot 381
Schoenbeck, Richard (Potsdam, Berlin 1840-1919) Schreitendes Pferd Bronze, schwarz patiniert. Auf naturalistisch gestalteter Plinthe. Sign. Gestufter, dunkelbrauner Holzsockel (35,2×14,8 cm) mit Messing-Plakette "ARD PATRICK v. St. Florian-Morganette". Ges.-H. 45 cm. Und: "Heimkehrender Bauer mit zwei Pferden". Sign. (schwer lesbar). Öl auf Holz. 18×14 cm. R. (60331)
Lot 408
Antikenkopie, Ferdinand Barbedienne (1810-1892) Sterbender Krieger Bronze, braun patiniert. Auf halbrunder Plinthe mit Schwert, Schild, Gürtel und gebrochenem Horn. L. 54 cm. Bez. "F. Barbedienne. Fondeur" und Reduktionsstempel von A. Collas. Ges.-H. 28 cm. Nach der römischen Marmorskulptur "Sterbender Gallier" in den Kapitolin. Museen, Rom. Und: "Der sterbende Gallier". Kupferstich nach Antikenskulptur (Amsterdam 1638-1664) von Cornelis van Dalen, verlegt bei Nicolas Visscher, um 1660 (ca. 13×22,5 cm). (60268)
Lot 409
Antikenkopie, Ferdinand Barbedienne (1810-1892) Diana von Versailles Bronze, braun-schwarz patiniert. Montiert auf rechteckiger Plinthe (20×15 cm). Rücks. bez. "F. Barbedienne Fondeur" sowie mechanischer Reduktionsstempel von Achille Collas, Ges.-H. 51 cm. Original im Pariser Louvre, römische Marmorkopie. (60268)
Lot 414
AntikenkopieSatyr mit Krupezion Bronze, braun patiniert. Auf rechteckiger Plinthe an Baumstumpf gelehnt, in tänzerischer Haltung mit Zimbeln. Rechter Fuß auf einer Fußklapper. Gießerstempel "Rolland Fondeur Paris L" und Marke von "H. Vissac. Ciseleur Paris". Ges.-H. 71 cm. (Sichtbare Gussnähte an Oberarmen, Beinen und Hals. Leicht fleckig). (60268)
Lot 4003
A Northwestern European bronze double-socket candlestick, Probably 15th century, possibly Southern Netherlands, H 27,5 cm, Provenance: purchased at Stodel, Rotterdam (when established at corner Nieuwe Binnenweg and 's Gravendijkwal). The removable pierced twin socket on a stem with one knop, above a dished bell base.
Lot 4510
Tjipke Visser (1876-1955), Diver (Duikend meisje), ca. 1936, H 61,5 cm (incl. base), The stylised female figure perched on a diving board, both arms raised in a curve and the body leaning forward, mounted on a grey stone base, with engraved ripples on the wavy top, and with eight engraved fish to the sides, the first of an edition of three, marked with the artist's monogram and ‘1-3’ on the top of the bronze plinth, and marked a second time with the artist's monogram to the front of the stone base.This patinated bronze figure of a female diver radiates a sense of both stillness and anticipation. Its sculptor, Tjipke Visser (1876-1955) was a Dutch artist originating from Friesland. After his education and early career in Amsterdam, Visser moved to the North-Holland village of Bergen in 1907, where he would become one of the first members of the Bergen School (‘Bergense School’) movement. Once back in Amsterdam, Visser became drawn to the theme of Dutch socialism, and created various monuments for key figures of the SDAP party. His smaller, more intimate sculptures of animals and human figures in wood and bronze would become his most recognizable works.
Lot 4515
Kees Verkade (1941-2020), 1989, Netherlands, H 31 cm, Provenance: Property of a Dutch noble family. Untitled, brown patinated bronze, showing two nude female figures resting their heads on each other's shoulders, their arms spread, on a shaped square and concave base, signed ‘K. Verkade 89’ and stamped with the Venturi foundry mark and edition number ‘2/6’.
Lot 5022
A pair of Louis XVI ormolu and alabaster candlesticks, Late 18th century, H 20,5 cm, Provenance: Property of a Dutch noble family.- acquired at an anonymous gallery, Denmark, through A. van der Meer, Amsterdam, 1988. Each with a vase-shaped nozzle, the round tapering stem decorated with foliate bronze ornaments, on a round spreading base.
Lot 5023
A Louis XVI ormolu and black marble mantel clock 'pendule portique', Last quarter 18th century, 47x33x10 cm, The case decorated with gilt-bronze foliate ornaments, the clockwork suspended between a pair of columns, surmounted by a vase, on a plinth decorated with a frieze with putti, on bun feet, the enamel dial with Arabic numerals, signed ‘Rocquet à Paris’, the mechanism with an anchor escapement and a cord suspended pendulum, striking mechanism with a count wheel, striking once on the half hour and the whole hour in full on a silver amalgamated bell. The beaded decoration loose.
Lot 5030
A pair of French ormolu-mounted white marble two-branch candelabra, Late 18th/early 19th century, H 48 cm, Provenance: Property of a Dutch noble family.- acquired at an anonymous gallery, Denmark, through A. van der Meer, Amsterdam, 1987. Each of baluster-vase shape, the body decorated with bronze female masks, beaded borders, festoons, and rope handles, on an ormolu plinth and a circular base, the neck issuing a central lily branch, flanked by two rose branches ending in flower head sconces.
Lot 5530
A Dutch ormolu-mounted kingwood, tulipwood, burr-walnut, fruitwood and marquetry commode, Workshop of Matthijs Horrix (1735-1809), The Hague, ca. 1765-1770, 89,5x140x69,5 cm, Provenance: - Acquired at Christie’s, London, by Pieter Hoogendijk, Baarn, on behalf of the present owner, 1989.- Property of a Dutch noble family.Literature: Reinier J. Baarsen, Aspecten van de Nederlandse meubelkunst in de tweede helft van de 18de eeuw, thesis, Vis Offset, Alphen aan den Rijn, 1993,’In de commode van Parijs tot Den Haag’, Matthijs Horrix, (1735 – 1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw’, p. 206, ill. Afb.43, p. 207 (this commode before restoration), The moulded and shaped grey marble top above a pair of bombé doors, inlaid with cartouche with flowers, C-scrolls and rockwork, on shaped legs ending in paw feet, and conformingly inlaid sides.One of the highlights of this collection that demonstrates the great potential of the effect of exotic wood inlay is this monumental commode – one that was made in the French tradition and exhibits many of its hallmarks, but is actually not French. This particular commode was made in the circle of the Dutch furniture maker Matthijs Horrix (1735-1809) (see next page). This German-born furniture maker travelled to The Hague in the 1760s, determined to bring a truly French style to the attention of the Dutch clientèle. Although at that time, locally produced pieces of furniture such as secretaires or cabinets were indeed embellished with the Louis XV style, this was essentially a translated style adapted to Dutch taste and tradition. French ornaments such as ‘rocaille’ and C-scrolls were applied in mouldings, mounts, and panels, though the execution, proportion and overall shape of the furniture stayed Dutch. Architecture and the decorative arts in The Hague, in particular, had already been influenced by French aesthetics during the first quarter of the eighteenth century. Through the figure of the French architect and designer Daniel Marot and his influence, an adapted Louis XIV style changed the design of various components of Dutch affluent life, from façades and hall benches to candlesticks and tea canisters. Matthijs Horrix wanted to go a step further, by executing designs that would be considered virtually French. Whereas the inventiveness and execution of gilt-bronze mounts had to be of higher quality than those produced by his Dutch peers, the intricacy of the wood inlay needed to equal that of the most recent pieces leaving the workshops of Paris. Since the Dutch ormolu-mounted commode featuring in this auction is of this high quality and bears several characteristics of Horrix's dedicated approach to furniture making, we can place this piece in his workshop. Surmounted by an elegant ‘bleu turquin’ marble top, the bombé-shaped body of the commode is richly decorated with inlaid flowers and scrolls, composed of kingwood, tulipwood, burr-walnut, fruitwood. Participating in the dynamic movement of this marquetry are the scrolling ormolu mounts applied to the front, corners, legs and feet.
Lot 31
Lynn Chadwick R.A. (British, 1914-2003)Standing Woman II signed with initial and numbered 'C/C56S/7/9' (on the underside)bronze with a black patina and a polished face32.4 cm. (12 3/4 in.) highConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.364, cat.no.C56SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.372, cat.no.C56SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.371, cat.no.C56SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 29
Lynn Chadwick R.A. (British, 1914-2003)Reclining Figures on Stripes signed with initial and numbered 'C 685S/3/8' (on the underside of each figure)bronze with a black patina and polished faces on a bronze base43.2 cm. (17 in.) longConceived in 1974 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.294, cat.no.685SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.302, cat.no.685SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.306, cat.no.685SThe title of the present work refers to a striped marble from Yugoslavia which Chadwick used for the base of the non-polished bronze edition. He was unable to source more of the marble when casting the polished edition, and so he instead chose to have a bronze base made for these casts.We are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 45
William Turnbull (British, 1922-2012) Sculpture stamped with monogram, numbered and dated '3/4 T 56' (on the base) bronze with a brown patina 143 cm. (56 1/4 in.) high Conceived in 1956 in an edition of 4 plus one artist's cast, and cast circa 2008 by Livingstone Art Foundry For further information on this lot please visit Bonhams.com
Lot 28
Lynn Chadwick R.A. (British, 1914-2003) Bullfrog signed, numbered and dated 'CHADWICK./1951./63./7/9.' (on the underside) bronze with a black patina and iron 64 cm. (25 1/8 in.) high Conceived in 1951 and cast by Pangolin Editions in 1988 For further information on this lot please visit Bonhams.com
Lot 60
Dame Elisabeth Frink R.A. (British, 1930-1993)First Horse signed and editioned '/6 Frink' (on the back-left hoof)bronze with a brown patina56.3 cm. (22 1/8 in.) highConceived in 1990, this cast is number 1 from the edition of 6Footnotes:ProvenanceThe Artist, from whom acquired byEric and Wanda Newby, 1991, thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.85 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.190, cat.no.SC57 (ill.b&w, another cast)Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council, Salisbury, 1997, pp.42, 71, cat.no.SC57 (coll.ill., another cast)Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonne of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.186, cat.no.FCR388 (col.ill., another cast)The horse is widely regarded as being Frink's most successful and commercial motif. Emerging during the late 1960s and conceived as both singular entities and with riders, they are largely the result of her time spent in the Camargue region of France, celebrated for its herds of semi-wild horses and rugged landscape. Frink's father had been a keen horseman during her childhood in rural Suffolk and the country life resonated with her, acting as a welcome distraction from the London art scene at the time.Upon returning to England in 1973 Frink continued to explore and develop the horse theme within her work over the following decades. As with the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal' (Edward Lucie-Smith & Elisabeth Frink, Frink: A Portrait, London, Bloomsbury, 1994, p.123).At Woolland, there was always a small group of thoroughbreds in the stable yard, Frink's husband was an enthusiastic racing man who had hopes of winning an important event with a horse he had bred. These thoroughbreds were part of Frink's domestic surroundings, but they were not, except in a very general fashion, models for her work. The type of horse which attracted her aesthetically was the beast in its most primitive form. The horses of Camargue, whose resemblance to those in the cave paintings at Lascaux has often been remarked upon, made an indelible imprint on her imagination: she liked their stocky bodies, short necks and large heavy heads. Edward Lucie-Smith notes that it is a Camargue horse which is likely to have supplied the model for First Horse (Elisabeth Frink Sculpture since 1984 and Drawing, London, 1994, p.40).The former owner of the present work, Eric Newby, was an English travel writer famed for works such as A Short Walk in the Hindu Kush, A Small Place in Italy and Round Ireland in Low Gear. He also made travel films for the BBC and was awarded a CBE in 1994. Eric and Wanda formed a close friendship with Frink and the present work is accompanied by a letter from the artist to them dated 26 June 1991, confirming this cast is number 1 from the edition of 6.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 30
Lynn Chadwick R.A. (British, 1914-2003)Standing Woman I signed with initial and numbered 'C/C55S/9/9' (on the underside)bronze with a black patina and a polished face29.6 cm. (11 5/8 in.) highConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.364, cat.no.C55SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.372, cat.no.C55SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.371, cat.no.C55SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 27
Lynn Chadwick R.A. (British, 1914-2003)Standing Couple signed with initial, dated and numbered '798S/1980/2/9/c' and stamped with Morris Singer foundry mark (on the female figure's cloak)bronze with a black patina and polished faces55.9 cm. (22 in.) longConceived in 1980 and cast by Pangolin Editions in 1986Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaExhibitedMilan, Galleria Blu, Lynn Chadwick, November 1986, cat.no.4 (another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.330, cat.no.798SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.338, cat.no.798SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.344, cat.no.798SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 62
Sophie Ryder (British, born 1963)Lady-Hare holding Dog signed 'Sophie' (in wire at the base)wire on a metal base103 cm. (40 1/2 in.) highUnique, executed in 1998Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.Lady-Hare holding Dog portrays the relationship between a lurcher, an animal known for its ability as a hunter, and the hare who is traditionally the hunted. However, here the relationship is tender and reconciled as the pair tightly embrace in both physical and spiritual terms, the lurcher having submitted completely to the hare who offers comfort and understanding. As Jonathan Bennington has noted, Lady-Hare with Dog is evocative of Picasso's Shepherd carrying Lamb (1943).A seven-foot-high bronze variation of this theme, Lady-Hare with Dog, sold in these rooms in November 2022 for £94,800, setting a new auction record for the Artist. We are grateful to the Artist for her assistance in cataloguing this lot.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 17
Keith Vaughan (British, 1912-1977)Torso of a Male Nude signed with initials and numbered '4/9 KV' (on the figure's right leg)bronze with a dark brown patina on a wood and marble base20.3 cm. (8 in.) high (excluding the base)Conceived in 1962Footnotes:ProvenanceAcquired by the present owner circa 1989Private Collection, U.K.The present cast belongs to one of only two bronze editions by Vaughan, the other edition being a stooping figure.We are grateful to Gerard Hastings and Anthony Hepworth for their assistance in cataloguing this lot.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 15
Denis Mitchell (British, 1912-1993)Clodgy signed with initials, titled, numbered and dated 'CLODGY/1979 6/7/DAM' (on the base)bronze with a green and polished patina on a slate base90.1 cm. (35 1/2 in.) high (including base)Footnotes:ProvenanceWith The New Craftsman Gallery, St Ives, where acquired by the present owner Private Collection, U.K.ExhibitedLondon, Alwin Gallery, 1979 (catalogue not traced, another cast)St Ives, Penwith Galleries, 1981 (catalogue not traced, another cast)London, Crane Kalman Gallery, Denis Mitchell: Selection of Sculptures and Reliefs, 9 October-1 November 1986, cat.no.15 (another cast)London, Berkeley Gallery, 1989 (catalogue not traced, another cast)Penzance, Newlyn Orion Gallery, 1990 (catalogue not traced, another cast)Dublin, Bridge Gallery, Denis Mitchell and Friends, 31 January-2 March 1997, cat.no.5 (another cast)St Ives, Penwith Galleries, Denis Mitchell: Sculptor, 30 June-1 August 1992, cat.no.87 (another cast) London, Flowers East, Denis Mitchell, 1993, cat.no.7 (another cast) Swansea, Glynn Vivian Art Gallery, Denis Mitchell: Sculpture 26 March-19 June 1994, cat.no.4 (another cast)Brighton, Gardner Arts Centre, Denis Mitchell (1912-1993) 'A Life of Art', 4-30 October 1993, cat.no.6 (another cast)St Ives, Penwith Gallery, The Rock and The Light: an exhibition of Denis Mitchell & Tom Early, 12 October-9 November 1996, cat.no.4 (another cast)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 32
Lynn Chadwick R.A. (British, 1914-2003)Standing Woman III signed with initial and numbered '4/9/C/C57S' (on the underside)bronze with a black patina and a polished face31 cm. (12 1/8 in.) highConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.364, cat.no.C57SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.372, cat.no.C57SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.371, cat.no.C57SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 26
Lynn Chadwick R.A. (British, 1914-2003)Sitting Woman in Robes I signed with initial, numbered and stamped with foundry mark 'C/C52S/6/9' (on the side of the base)bronze with a black patina and polished face on an integral bronze base35.6 cm. (14 in.) longConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.362, cat.no.C52SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.370, cat.no.C52SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.370, cat.no.C52SWe are grateful to Sarah Chadwick for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 59
Dame Elisabeth Frink R.A. (British, 1930-1993)Larger Lying Down Horse signed and numbered 'Frink 2/6' (on the horse's back)bronze with a brown patina35.6 cm. (14 in.) wideFootnotes: ProvenancePrivate Collection, South Africa, prior to 2000, and thence by descentPrivate Collection, South AfricaExhibitedLondon, Waddington Galleries I, II, III, Elisabeth Frink: Sculpture and Prints and Drawings from Chaucer, 11 October-4 November 1972, unnumbered (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985, unnumbered (another cast)LiteratureMarina Vaisey, 'Elisabeth Frink', Arts Review, 21 October 1972, p.647Edwin Mullins (intro.), The Art of Elisabeth Frink, Lund Humphries, London, 1972, pl.118 (ill., as Larger Rolling Over Horse, another cast)Bryan Robertson, Elisabeth Frink, Sculpture, Harpvale Books, Wiltshire, 1984, p.180, cat.no.203, (ill.b&w, p.181, another cast)Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.124, cat.no.FCR230 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 21
Henry Moore O.M., C.H. (British, 1898-1986)Small Head: Strata signed and numbered 'Moore 5/9' and stamped with foundry mark 'M.NOACK BERLIN' (on the back of the neck)bronze with a brown patina on a granite base11.6 cm. (4 1/2 in.) high (excluding the granite base)Conceived in 1960Footnotes:ProvenancePrivate Collection, ItalyLiteratureAlan Bowness (ed.), Henry Moore: Complete Sculpture 1955-64, Volume 3, Lund Humphries, London, 1986, p.46, cat.no.468 (ill.b&w, another cast)John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.226, cat.no.431 (col.ill., another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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350105 item(s)/page