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Lot 272
A fine three-piece mantle garniture, gilt bronze, reclined lady, man and candelabra with putti. Clock has an enamelled dial with blue and white geometric pattern. Movement signed Dunet fils et Delafon. 19th century. Height of the candelabra: 63 cm. Condition report:- The clock is missing the cover on the backside. - Missing the pendulum. - In our opinion, the set is a 'beau marriage', where the candelabra are not a 100% match to the clock. - Movement not-tested and should be cleaned before use. Dimensions:(D:18 x W:72 x H:49 cm)
Lot 45
KENNETH ARMITAGE RA (BRITISH 1916-2002) MODEL FOR A LARGE WORK (VERSION B)patinated and painted bronze34.5cm x 84 x 15cm; 13 x 33 x 6inConceived in 1963, the present work is number 0 from the edition of 6.Provenance:Studio of the artistMarlborough Fine Art, London, where acquired from the above by the present owner in 2017Literature:James Scott, The Sculpture of Kenneth Armitage, London, 2016, p. 132, no. 124, (illustration of another cast)Exhibited:London, Marlborough New London Gallery, Kenneth Armitage, 1965, no. 4, illustrated in the catalogueLondon, Marlborough Fine Art, Carved Cast Constructed: British Sculpture 1951-1991, 2017ARR may applyARR may apply
Lot 36
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) THE MADONNA OF 'THE MIRACLE' WITH SELF-PORTRAIToil on canvas55 x 43cm; 21 3/4 x 17in74 X 61cm; 29 x 24in (framed)Property from a Deceased EstateProvenance:Mr & Mrs Thomas Leman Hare (commissioned from the artist. Thomas Leman Hare was a publisher and collector and in the 1920s became editor of Apollo magazine)Mrs Genevieve Shillingford (god-daughter of Mrs Leman Hare)Miss Joia Shillingford (daughter of the above)Sale, Sotheby's London, 11th November 1981, lot 242 (sold by the above)A. Leslie (probably purchased at the above sale)Alton Gallery, BarnesPurchased by the late owner from the above prior to 1990Painted in 1912, this is a unique example in Gaudier-Brzeska’s oeuvre both in being painted on canvas rather than paper, and in the silhouette self-portrait holding a brush. The statuette in the foreground of the composition is a plaster Gaudier had recently completed of Madame Carmi in the leading role of the Madonna in The Miracle performed at the London Olympia. The plaster is now in the collection of Kettle's Yard, Cambridge (fig. 1). The present painting was almost certainly executed in the Thameside home of his patrons, Mr and Mrs Leman Hare, on Chiswick Mall. Thomas Leman Hare (1872-1935) was a painter, collector and writer on art, who subsequently became editor of Apollo magazine. Friends of the Leman Hares included fellow art writer Haldane Macfall, painter and illustrator Claud Lovat Fraser and the aspiring young writer Enid Bagnold, who later achieved fame as the author of National Velvet. Gaudier-Brzeska had arrived from his native France with his companion Sophie Brzeska early in 1911 and had entered the orbit of this group in January 1912 after writing to Haldane Macfall in response to an article he had published in the English Review. Gaudier modelled portraits of several of them and contacts with more advanced artists and writers followed notably with the sculptor Jacob Epstein, some of the Camden Town painters and with Roger Fry’s Omega Workshop. In 1914 he was elected to the London Group and emerged as one of the leaders of the short-lived, radical Vorticist Group before his tragically premature death in France aged only 23. Performed from 21 December 1911 to 10 February 1912, The Miracle, produced by the German impressario Max Reinhardt was an extravaganza - part medieval miracle play, part wordless musical pageant involving around 1,700 performers including orchestra and chorus, horses, actors and a set evoking the interior of a medieval church which is probably that sketched on the verso of Gaudier’s canvas (fig. 2). It was a hit which subsequently toured in Europe and the US, was revived in the 1920s and filmed in three versions. It also launched the career of Maria Carmi who incarnated the central figure, a sculpture of the Madonna and the redemptive figure of the nun at the core of the plot.The statuette of Maria Carmi (1880-1957) was one of Gaudier’s earliest commissions. He was paid £5. The commission and the process of its making were described both by Sophie Brzeska in the ‘Journal’ of her life with Gaudier (Cambridge University Library) and by Gaudier himself in a letter, dated 12 February 1912, to Haldane Macfall (National Art Library).In Sophie Brzeska’s account Mrs Leman Hare arrived at their Chelsea lodgings, just as they were packing up to move, to offer Gaudier the commission and to insist that he and Sophie Brzeska accompany the Hares to the final performance who had already seen it eight times; ‘There is a large number of people who admire Maria Carmi as much as we do. So my husband had the idea to ask Lord Northcliffe and a few other gentlemen whether they might not like to contribute to having a bust made of this divine Madonna. Lord Northcliffe was enchanted by the idea. . . We are going to have a copy cast in bronze to offer to Madame Carmi and then fifty or so in plaster which will sell easily.’Two days later Gaudier gave a down-to-earth account in a letter to Macfall, describing the sculpture as a statuette rather than a bust. ‘Off we went as tired as could be, made about sixty sketches of the subject, came back home…at 1 o’clock yesterday, and spent the whole morning putting up the clay for the thing.’ He added ‘Mr Hare gave me a very good idea. He suggested that I should indicate on the plaster cast the different colours gold, red and blue and this I will do.’On 26 February Gaudier was able to report to Macfall that the mould was finished and he expected to be able to cast the piece that evening. A second plain white cast was made, later probably destroyed, but the projected edition never came to fruition.The archive image of the statuette (fig. 1) shows short brush strokes of colour applied in an Impressionist technique although all the colour has now deteriorated to dark brown in this sculpture (Kettle’s Yard, Cambridge). A pastel of The Madonna alone (Private Collection) is more densely pigmented in red, blue, green and ochre (H Brodzky, Gaudier-Brzeska Drawings, 1946, colour frontispiece). One may surmise that Gaudier included the mirrored image of himself as a painter rather than sculptor in his canvas in acknowledgement of Leman Hare’s colour suggestion.We are grateful to Dr Evelyn Silber for her assistance in preparing this catalogue entry. fig. 1, Archival photograph of Gaudier-Brzeska, Mme Carmi as the Madonna in 'The Miracle', plaster, 1912 (courtesy of Kettle's Yard, University of Cambridge)fig. 2, The reverse of the present lot, almost certainly showing the stage set of The Miracle performed at Olympia Exhibition Halls 1911-12
Lot 297
DIRK DE KEYSER (b. 1958)Le Vent (The Wind)Bronze, 176cm highDirk De Keyzer was born in Sleidinge, East Flanders on 19th December, 1958.He enrolled at the art academy of Eeklo as a night student, while maintaining his day job, until in the mid 1980s when he became a professional sculptor. In his self-titled monograph published by Absolute Art Gallery and Editions Art in Belgium he is quoted as saying “‘Being too serious is never a good thing’. His female figures, for instance, are elegant as well as sensual. They often flaunt rather provocative high breasts, though they are usually dressed. In fact, their clothing is a pretext for the artist to add lively details and give the figure an extra aesthetic dimension”. The present work ‘De wind’ or ‘Le vent’ was purchased by the current owners in 2004 from Galerie Vivendi in Paris. The handsome price of €16,500 was paid for the piece and it has been enjoyed in their garden in South Dublin since.A copy of the monograph accompanies this lot, and Le Vent is illustrated with a full page on p.31.
Lot 190
A FRENCH 19TH CENTURY BRONZE AND GILT BRASS MANTLE CLOCKthe white enamel drum dial signed Cresson Bould, Montmarte 9, surmounted by a flower filled urn and flanked by reclining amorini, the bowed pedestal base filled with a porcelain panel with amorini flanked by square floral panels, on a similarly bowed plinth with foliate mounts. 55cm wide x 50cm high
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