A George III Gilt Bronze Mounted Ebonized Fruitwood Bracket ClockDial Signed William Edwards, London, Circa 1765the twin train movement with strike/silent dial and date aperture.Height 19 1/4 inches x width 11 1/2 x depth 8 inches.This lot is located in Chicago.Provenance:Malcolm Franklin, Inc., Chicago, 12 June 1973 (with invoice)Some rubbing to the ebonization. The door formerly with an eschutcheon. Tarnishing to metal work. Scattered loss to the ebonization and cracking to the case as to be expected. Missing left side molding to top. The backplate with 18th century scrolled engraving to the works.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
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A Charles X Ormolu and Patinated Bronze Beehive ClockCirca 1830the works stamped 'H*P 782'.Height 15 1/2 x width 7 1/4 x depth 6 inches.This lot is located in Chicago.Provenance:Kenneth Neame, London, 23 September 1985 (with invoice)There is minor overall surface scratching, tarnish, minor casting flaws to ormolu, as to be expected. With key and pendulum.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Restauration Ormolu and Patinated Bronze Figural CandlesticksCirca 1815Height 11 3/4 inches.This lot is located in Chicago.One candlestick missing a bobeche. The other previously restored with a solder repair at the feet.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Louis Philippe Gilt and Patinated Bronze Seven-Light CandelabraCirca 1840mounted as lamps.Height of candelabra 30 x width 12 1/4 inches; height overall 44 inches.This lot is located in Chicago.The wood section in the base of one example has been replaced for stability. This old wood section has split in multipe pieces, though is present and bears a 19th century adhered linen label that reads 658.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Swedish Neoclassical Gilt Bronze, Cobalt and Colorless Glass ChandelierCirca 1800not wired for electricity.Height 46 1/2 x diameter 41 1/2 inches. This lot is located in Chicago.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of George III Gilt Bronze Mounted Tulipwood, Burr Yew and Satinwood Marquetry Demilune CabinetsProbably Irish, Circa 1790with cedar-lined drawers and mahogany bottom boards, the ormolu boards probably later; minor differences in size.Larger: height 37 x width 43 1/8 x depth 19 inches; smaller: height 37 x width 41 1/4 x depth 18 7/8 inches.This lot is located in Chicago.Provenance:Lord Louth, Louth Hall, County Louth, IrelandPartridge, London, 19 April 1994 (with invoice)Note:The design of these elegant cabinets, with their distinctive burr yew panels and delicate Neoclassical swag marquetry, closely relates to the work of Dublin cabinet-makers of the era. Though William Moore is perhaps the most-well known potential candidate, other cabinet-makers, such as John Wisdom, also employed the same pattern of burr yew panels on their documented work including a table supplied to Thomas Cobb at Newbridge (Glin and J. Peill, Irish Furniture, New Haven, 2007 p. 167, fig. 228). As the authors note, much has been attributed to William Moore without documented evidence (Ibid, p. 166) and indeed only two works have been substantiated as by Moore-a demilune commode supplied to William Henry Cavendish-Bentinck, 3rd Duke of Portland (d. 1809) when Viceroy of Ireland around 1782 and a demilune Pianoforte inscribed 'W Moore', circa 1785, the only signed example of his work. The location of the signed example is currently unknown.With two keys. Both cabinets with some circular moisture rings on their tops. A few minor instances of veneer repairs along the banding. Clean backs and re-polished. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Directoire Ormolu and Patinated Bronze UrnsCirca 1805mounted as lamps, with shades.Height to top of urn 19 inches; height overall 30 1/2 inches.This lot is located in Chicago.The urns drilled for conversion to lamps.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Charles X Bronze Candelabra BasesCirca 1825mounted as lamps, with shades.Height of candelabra 16 1/2 inches.This lot is located in Chicago.Height of lamps overall (with shades) 23 1/4 inches.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
12th century AD (or later). An rare cast bronze footed incense burner in the shape of a Buddhist Stupa with an intricate openwork decoration and a long handle terminating in a finely detailed caracal protome with its one leg. Each corner of the main body is supported by a similar, but smaller, caracal finial standing on a single paw. Burning incense in this burner would create the illusion of smoke appearing from the sculpted animals. A stupa is the simplest type of sacred Buddhist building, having a hemispherical shape and serving as a reliquary. For a similar example, see Tareq Rajab Museum, Jabriya, Kuwait. Possible restoration in a later period. Size: L:235mm / W:350mm ; 2.1kgProvenance: Private London family collection; formed between 1970-2008.
Ca. 11th -12th century AD. A bronze mortar and pestle with a fine patination finish. The mortar is in the form of a bulbous shape tube and a slightly flared rim. The main body is decorated with two bands of lotus buds protrusions, which are alternated with roundels consisting of zoomorphic depictions. The pestle is formed with a knobbed handle and a long cylindrical shaft with a rounded base. This object was most likely a utilitarian object used in the kitchen for the preparation of food or possibly by a physician, skilfully mixing medicines and preparing substances for the healing of the ill. For a similar example, see The Louvre Museum, Main number: MAO 2107a.Size: L:160mm / W:110mm ; 410gProvenance: Private London family collection; formed between 1970-2008.
Ca. 7th-12th Century AD. A cylindrical bronze scroll holder decorated with alternating panels of Kufic script and an openwork interwoven design.Size: L:285mm / W:55mm ; 1.8kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.
Persia, Ca. 8th Century AD. A bronze ewer with trough spout, piriform body, flaring foot with an edge consisting of small suspension loops and strap handle with a faceted knob finial, connecting at the lower part of the body and at the rim. Roundels of elaborate relief decoration in the form of trees, vegetal tendrils, and tridents are concentrated around the main body. This form of the jug is typically known as an ewer and would have been used for serving water during banquets or for bathing. A similar example sold in Bonhams for £ 7,500. See Islamic and Indian Art, London, 8 October 2013, Lot 5.Size: L:395mm / W:170mm ; 1.83kgProvenance: Private London family collection; formed between 1970-2008.
Ca. Late 12th - 13th century AD. A flat-bottomed bronze inkwell (mihbara) comprising a separate lid and a slightly flaring, cylindrical body. The lid has a flat top, straight sides with three horizontally oriented handles, and an ogival dome with a ball finial. The main body is equipped with further hinged handles and is meticulously embellished with geometric designs and inscribed good wishes. For a similar example, see The British Museum, Museum number 1939,0620.1.Size: L:80mm / W:65mm ; 500gProvenance: Private London family collection; formed between 1970-2008.
A patinated bronze figure of a recumbent stag on a rosso marble and gilt bronze plinth base, 15.3 cm wide x 8 cm deep x 13.3 cm high overall, together with a Grand Tour style bronze figural candle holder as a sphynx holding aloft a palm, raised on a palm leaf decorated plinth and marble base, 11.5 cm wide x 9.5 cm deep x 19 cm high overall CONDITION REPORTS Deer only - has both its antlers broken and missing. The bronze does not sit square to the base. One of the antlers has been off and re-attached. In need of a clean. The marble base has various chips, etc., particularly to the edges and corners. The brass base has knocks and bumps particularly to the corners. Otherwise general wear and tear conducive with age and use. See images for further detail.
λ HENRY MOORE (BRITISH 1898-1986)MAQUETTE FOR STRAPWORK HEAD, 1950 (LH 289a)Bronze Signed and numbered 7/9 (to the left hand side) Height: 10.2cm (4in.) Conceived in lead in 1950 and cast in bronze in an edition of 9 in 1972.Provenance:Sale, Christie's, London, 25 November 1993, lot 55 (acquired directly from the artist by the late owner)Sale, Christie's, London, 23 October 1996, lot 25 Berkeley Square Gallery, LondonJean Marsden, Private Collection (acquired from the above in July 1998)Sold by the executors of the estate of Jean MarsdenLiterature:David Mitchinson (ed.), Henry Moore: with comments by the artist, London, 1981, pp. 106, 311, no. 203, illustration of another castAlan Bowness (ed.), Henry Moore: Complete Sculpture 1949-54, Vol. 2, London, 1986, p. 31, no. 289a, pls. 34-35, illustration of another castSusan Compton, Henry Moore: Catalogue of the Royal Academy Exhibition, London, Royal Academy of Arts, 1988, p. 226, no. 112, illustration of the lead versionExhibition catalogue, Henry Moore: Sculpture from the 40s and 50s, London, Waddington Galleries, 1995, pp. 14-15, no. 5, illustration of the lead versionExhibition catalogue, Henry Moore: War and Utility, London, Imperial War Museum, 2006, p. 51, no. 22, illustration of another castCondition Report: In good original condition.Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)STUDY FOR ALCOCK AND BROWN MEMORIAL (HORIZONTAL BIRDMAN) [FCR114]BronzeSigned and](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/39419214-8012-4fdc-bf6f-afa900a69207/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993)STUDY FOR ALCOCK AND BROWN MEMORIAL (HORIZONTAL BIRDMAN) [FCR114]BronzeSigned and numbered 4/9 (on the underside of right leg)36 x 40cm (14 x 15½ in.)Conceived circa 1962. Provenance:Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above in May 2005)Sold by the executors of the estate of Jean MarsdenLiterature:Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.86, no. FCR114, illustration of another castThe present work is a maquette for Frink's 1962 commission for Manchester Airport. The full scale bronze is dedicated to aviators John Alcock and Arthur Brown, who made the first non-stop transatlantic flight in June 1919. Similar to the tall 'Birdman' sculpture of 1960, the work also forms part of a series of bronzes inspired by photographs of French adventurer Leo Valentin. Valentin attempted to achieve flight by strapping bird-like wings to his arms but ultimately fell to a dramatic death at an airshow in Liverpool in 1956 in front of 100,000 people. News of the accident, along with photographs, was widely published in the press. The images resonated with Frink whose experience during the war meant that she already had a preoccupation with flight along with a fear of heights. The sculptures she produced as a result depict figures falling sometimes at the point of impact with the ground. Others, like the present work, depict the incongruous marriage of man and bird, the unlikely form struggling to attain flight, hindered by its short wings with legs flailing behind, and yet rising in spite of itself.Condition Report: Dust and surface dirt commensurate with age. Some light scratches to the base. Supporting pole is a little loose and may need stabilising. Otherwise in good original condition. Condition Report Disclaimer
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot. Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer
λ OLIVIA MUSGRAVE (IRISH B. 1958)SHEEP Bronze Signed 33 x 65cm (12 x 25½ in.)From the edition of 5. Provenance:Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above on 7 August 1995)Sold by the executors of the estate of Jean MarsdenCondition Report: Very fine surface scratches throughout, most notable to the top of the back. Light surface dirt throughout. In otherwise good original condition. 34 x 65 x approx. 18cm. (H x W x D)Condition Report Disclaimer
λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTIONBronze Signed and dated 68 Height 31cm (12in.)Provenance:Direct from the artist's family Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.Condition Report: Light surface dirt throughout. Some minor nicks, marks and scratches to the surface most notable to the back of the head. Otherwise appears to be in good original condition. Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)
STUDY FOR STANDARD VI [FCR154]
Bronze
Signed and numbered 3/7 (to](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/2a6011ff-afbd-482d-ae5e-afa900a6c718/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993) STUDY FOR STANDARD VI [FCR154] Bronze Signed and numbered 3/7 (to edge of base) Height: 49cm (19¼in.) Conceived in 1965. Provenance: Beaux Arts, London/Bath Jean Marsden, Private Collection (acquired from the above in April 2000) Sold by the executors of the estate of Jean Marsden Literature: Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, London, 2013, p. 97, no. FCR154, illustration of another cast The present lot derives from Frink's initial study of the eagle and its anatomy of movement. Frink created a series of 'Standard' forms which captured an eagle perched on a tall pedestal in various stages of movement such as preparing to launch, shaking of their feathers or raising their head to cry out. Each piece encapsulates the attributes of the shifting motions of an eagle through varying forms of abstraction whilst some illustrate precise details including claws, beaks and wings. The present lot derives from Frink's initial study of the eagle and its anatomy of movement. Frink created a series of 'Standard' forms which captured an eagle perched on a tall pedestal in various stages of movement such as preparing to launch, shaking of their feathers or raising their head to cry out. Each piece encapsulates the attributes of the shifting motions of an eagle through varying forms of abstraction whilst some illustrate precise details including claws, beaks and wings. Condition Report: In good original condition. Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)BIRD [FCR67]Bronze Signed (to base) Height: 38.1cm (15in.)Conceived in 1959 in an e](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/0bb9158d-ab25-40ca-a6f7-afa900a621a2/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993)BIRD [FCR67]Bronze Signed (to base) Height: 38.1cm (15in.)Conceived in 1959 in an edition of 6.Provenance:Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above in June 1997)Sold by the executors of the estate of Jean MarsdenLiterature:Edwin Mullins (intro.), The Art of Elisabeth Frink, London, 1972, n.p., no. 19, illustration of another castBryan Robertson (intro.), Elisabeth Frink Sculpture: Catalogue Raisonné, Salisbury, 1984, pp. 148-149, no. 56, illustration of another cast Sarah Kent, Exhibition Catalogue, Elisabeth Frink: Sculpture and Drawings 1952-1984, London, Royal Academy, 1985, pp. 12, 50, no. 12, illustration of another castAnnette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 66, no. FCR67, illustration of another castCalvin Winner (ed.), Exhibition Catalogue, Elisabeth Frink: Humans and Other Animals, Norwich, Sainsbury Centre for Visual Arts, 2018, n.p, exhibition not numbered, illustration of another castBird, stands upright on human-like legs with wings stunted and clipped in at the sides. Frink was fascinated with humanity and the relationship between man and beast throughout her career. The strong beak reaching out is clearly animalistic and the bird is prepared in stance to snatch its prey and fight for its survival in the wild. Her childhood growing up in rural Suffolk surrounded by beautiful countryside, animals and birds influenced reoccurring themes in her work. She was drawn to naturalistic subject matter which raised questions of animalistic behaviours and the rawness of nature. Condition Report: Surface dirt throughout. May benefit from a light clean. A few scattered spots of oxidisation to the base where the bronze is turning green. Otherwise in good original condition. Condition Report Disclaimer
λ DEBORAH VAN DER BEEK (20TH CENTURY)RUNNING BULL Bronze Signed and numbered 3/9 32 x 58cm (12½ x 22¾ in.)Provenance:Campden Gallery, Chipping CampdenJean Marsden, Private Collection (acquired from the above on 11 March 2005)Sold by the executors of the estate of Jean MarsdenCondition Report: Light surface dirt throughout. Some white marks scattered across the surface and some small patches of oxidisation causing green marks. In overall good condition. Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)STANDING HORSE [FCR402]Bronze Signed and numbered 4/10 (to rear right hoof) 36.5 x](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/31459ebc-34ae-44da-b881-afc50109c9a2/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993)STANDING HORSE [FCR402]Bronze Signed and numbered 4/10 (to rear right hoof) 36.5 x 44cm (14¼ x 17¼ in.)Conceived in 1993. Provenance: Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above in May 1994)Sold by the executors of the estate of Jean MarsdenLiterature:Edward Lucie-Smith, Elisabeth Frink Sculpture since 1984 and Drawings, London, 1994, p. 191, no. SC74, illustration of another castAnnette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 189, no. FCR402, illustration of another castThis is the last known work by Elisabeth Frink and shows the artist at her most relaxed depicting a subject matter that was very close to her heart. Frink had a good understanding of a horse's anatomy but here we are faced with a simple depiction of a strong standing form, capturing the essence of the animal rather than a realist depiction. Horses not only held a sentimental place in Frink's heart but came to represent her exploration of nature and humanity. She spoke about the many horses that had aided man by leading them into battle or ploughing fields, helping to sustain man over thousands of years. The horse came to represent a symbol of reliance in Frink's work.Condition Report: Light dust and surface dirt. Otherwise in good original condition. Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)DOG (CHILDHOOD SCULPTURE) [FCR 401]BronzeSigned and stamped with the foundry mark (](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/ecfa126c-591d-48f1-ab77-afa900a65cdb/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993)DOG (CHILDHOOD SCULPTURE) [FCR 401]BronzeSigned and stamped with the foundry mark (to the rear right leg), dated 1993, numbered 002 and stamped Great Ormond Street/Children's Hospital/charity edition (to the underside) Height: 29.2cm (11¼in.) Commissioned by The Morris Singer Foundry Ltd., Basingstoke, Hampshire, to be sold in aid of Great Ormond Street Hospital for Children, London. Originally designed to be cast in an edition of 350 however this was never completed. Courcoux & Courcoux Gallery took over the management of pre-existing Morris Singer casts and limited the edition to 50 with 6 artist copies. The present lot, made of solid bronze, is number 2 from the edition of 50 cast by The Morris Singer Foundry Ltd. Provenance: Great Ormond Street Ltd. Jean Marsden, Private Collection (acquired from the above on 31 March 1993)Sold by the executors of the estate of Jean MarsdenLiterature:Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 And Drawings, London, 1994, p.191, ref.no.SC73, illustration of another cast Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 189, no. FCR401, illustration of another castThe topic of man's best friend was explored by Frink during the late 1980s and early 1990s. Whilst dogs and their relationship with man had always fascinated the artist it was during her time spent at her home at Woolland in Dorset that sparked the inspiration for this series. Alex Csaky, Frink's husband owned Hungarian gun-dogs and it was these majestic hounds whose strong muscular build and smooth coats could be transferred to sculpture. What is particularly striking is the way in which Frink captures the personality and character of the dog. We feel a sense of affection as the dog focuses outwards, sniffing the air with wide eyes looking expectantly at his master.We would like to thank the late Ken Cook for all his kind assistance in cataloguing this lot.
λ EMILE GILIOLI (FRENCH 1911-1977)UNTITLED (PETITE SPHERE)Polished marbleHeight including small base: 41cm (16 in.)Executed circa late 1960s.Provenance:A gift from the artist to Giuseppe Formai, former CEO of Henraux marble works, Querceta in the late 1960sThence by descent to the present owner Gilioli was one of the foremost sculptors working in Paris in the post-war years. His abstract sculptures produced in a range of mediums from metal and bronze to marble, all exhibit an understanding of line and form and reflect a passion for modernism that epitomised the era. Gilioli exhibited alongside fellow avant-garde artists such as Serge Poliakoff, Alberto Giacometti and Victor Vasarely as well as drawing immense influence from the likes of Constantin Brancusi, whose studio he visited on numerous occasions, and Henri Laurens. His work has been exhibited widely both during his lifetime and since, including a 1979 retrospective at the Centre Georges Pompidou in Paris, and his work is held in various international collections including the Tate in London, MoMA in New York and the Museu de Arte Moderna in São Paulo. Condition Report: No obvious condition issues. Condition Report Disclaimer
![λ DAME ELISABETH FRINK (BRITISH 1930-1993)CARAPACE II [FCR121]Bronze Signed and numbered 4/6 (to the back) 30 x 67cm (11¾ x](https://cdn.globalauctionplatform.com/9556b4df-e5d2-4013-ae61-af9600cd25b8/979c70b8-08f2-436e-9622-afa900a6e84b/468x382.jpg)
λ DAME ELISABETH FRINK (BRITISH 1930-1993)CARAPACE II [FCR121]Bronze Signed and numbered 4/6 (to the back) 30 x 67cm (11¾ x 26¼ in.)Conceived in 1963.Provenance:Beaux Arts, London/BathJean Marsden, Private Collection (acquired from the above in September 1996)Sold by the executors of the estate of Jean MarsdenLiterature:Edwin Mullins (intro.), The Art of Elisabeth Frink, London, 1972, cat. no.47, illustration of another castBryan Robertson (intro.), Elisabeth Frink: Catalogue Raisonné, Salisbury, 1984, cat. no.97, p.158, illustration of another castAnnette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 86, no. FCR121, illustration of another castCondition Report: Surface dirt throughout with some white marks scattered across the surface and within the crevasses. Some scattered minor areas of green caused by oxidisation. Otherwise appears to be in good original condition. Condition Report Disclaimer
A group of late 20thC Swedish bronze commemorative medals, two Osvald Helmuth, and Georg Malmsten, another two, King Gustav VI, Adolf of Sweden commemorating his 90th Birthday in 1972, two further Swedish medals and a French medal commemorating the Great War for Civilisation 1914-1918, together with a copy of The Medal No 21 Autumn 1992. (6)
Pair: E. A. Floyer, Inspector General of Egyptian Telegraphs, a scholar, explorer and scientist, who accompanied Kitchener on his mission to see the Mudir of Dongola, and subsequent disguised forays from Debba. Known to General Gordon, he corresponded with him at Khartoum, and also heavily contributed to Sir Reginald Wingate’s history of the Egyptian Campaigns Egypt and Sudan 1882-89, undated reverse, 1 clasp, The Nile 1884-85 (Insp: Genl Of Telegrs E. A. Floyer.); Khedive’s Star, dated 1884-6, unnamed as issued, generally good very fine and rare (2) £800-£1,200 --- Provenance: Dix Noonan Webb, December 1999 (when sold as a single Egypt and Sudan 1882-89 medal) Ernest Ayscoghe Floyer, the British telegraph engineer and explorer, was born on 4 July 1852, at Marshchapel, Lincolnshire, eldest surviving son of the Rev. Ayscoghe Floyer by his wife Louisa Sara, daughter of the Hon. Frederick John Shore of the Bengal Civil Service. After education at Charterhouse from 1865 until 1869, Floyer served for seven years in the Indian telegraph service, being stationed on the coast of the Persian Gulf. On receiving his long leave, in January 1876, he started for the unexplored interior of Baluchistan. His journeys there occupied him until May 1877, and his observations and surveys earned him a reputation as a bold and intelligent explorer. His results were published in ‘Unexplored Baluchistan’ (1882), with illustrations and map. The narrative describes a journey of exploration from Jask to Kirman via Anguhran. There are appendices on dialects of Western Baluchistan and on plants collected. In January 1878 he was appointed Inspector General of Egyptian telegraphs, a post which he held until his death.
He and his telegraph staff played an important part in maintaining communications with the Egyptian garrisons in the Sudan at the beginning of the Mahdist revolt. In 1884 he made a journey from Halfa to Debba, in the Dongola province with H. H. Kitchener, then in the intelligence department of the Egyptian army. He also regularly corresponded with General Gordon: ‘Dear General Gordon, I send you the above as the last public news we have heard. I have been appointed Inspector General of the Soudan Telegraph, but at present I can’t get beyond Debba to inspect them, as Mr Hudai has captured the Merowi telegraph office, and the Sirdar will not let us advance. I am ordered back to Halfa, and am leaving by boat this morning. With kind regards to Colonel Stewart. Yours sincerely, E. A. Floyer. Debba, 22 August 1884.’ (The Journals of Major General C. G. Gordon C.B. at Khartoum refers) Later in the journal Gordon writes the following having used telegraph forms for his journal, “Floyer wil be furious at this misuse of telegraph forms.” The following report from Floyer appeard in Reynolds Newspaper 24 August 1884: ‘Writing from Dongola: ‘The people here go about armed to the teeth. Even my barber comes to me with a huge spear in one hand and his shaving tackle in another. The Mudir of Dongola has ordered his men to collect and mass at Sarras, the railway terminus, 1,000 camels to aid in the transport of stores southwards; 1,500 out of the 2,000 men promised by the Mudir are on their way to Sarras, under the charge of Issedin Bey, a Vakeel of Dongola.’ Floyer so administered the department as to convert an annual loss into a substantial annual surplus. He induced the government to devote a portion of this to experiments in the cultivation of trees and plants upon the soil of the desert. He took charge of these experiments in the capacity of director of plantations, state railways and telegraphs of Egypt. He cultivated successfully cactus for fibre, casuarina for telegraph poles, Hyoscyamus muticus yielding the alkaloid hyoscamine, and other plants. Having discovered nitrate of soda in a clay in Upper Egypt, he was appointed by the government to superintend the process of its extraction. At the same time he engaged in exploration. In 1887 he surveyed two routes between the Nile and the Red Sea in about N. lat. 26°. In 1891 he was appointed by the Khedive to the command of an important expedition in a more southern part of the same desert (about N. lat. 24°). In this expedition he rediscovered the abandoned emerald mines of Sikait and Zabbara which had been worked at various epochs from early times. As the result of Floyer’s report these mines were reopened. The outcome of this expedition, antiquarian, scientific, and economic, is fully described in his official publication ‘Etude sur la Nord-Etbai entre le Nil et la Mer Rouge’ (Cairo, 1893, 4to, with maps and illustrations). For services to the military authorities Floyer received the British medal ‘Egypt 1882,’ with clasp ‘The Nile 1884-85,’ and the Khedive’s bronze star. Floyer, who was popular with his native employees, had a mastery of Arabic and possessed an ear for minute differences of dialect. He described his Egyptian explorations in ‘The Mines of the Northern Etbai’ (Trans. Roy. Asiatic Soc. October 1892); ‘Notes on the Geology of the Northern Etbai’ (Trans. Geol. Soc. 1892); ‘Further Routes in the Eastern Desert of Egypt’ (Geogr. Journ. May 1893); and ‘Journeys in the Eastern Desert of Egypt’ (Proc. Roy. Geogr. Soc. 1884 and 1887). To the Journal of the ‘Institut Egyptien’ for 1894-96 he contributed many papers on antiquarian, botanical, and agricultural matters. (Ref. Dictionary of National Biography and Biographical Dictionary of the Anglo-Egyptian Sudan). Floyer died in Cairo in 1903, and is extensively mentioned in several works including Life, Letters and Diaries of Lieutenant General Sir Gerald Graham and The Story of My Life by Sir Harry H. Johnston. Sold with a copy of Notes on a Sketch Map of two Routes in the Eastern Desert of Egypt by the recipient, extensive copied research, and several photographic images of the recipient.
Police L.S. & G.C., E.II.R., 2nd issue (Sergt. Ronald L. Belt); together with the recipient’s Birmingham City Police helmet plate and cap badges; rank and number epaulettes; a St. Jon Ambulance Association Re-examination Cross, bronze, the reverse engraved ‘A188300 Ronald L. Belt’; and the the recipient’s Second World War Royal Air Force card identity discs, nearly extremely fine £70-£90
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