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Lot 203
A pair of 19th-century style gilt bronze candelabrum, each with four lights, on a vase shape stems with square bases mounted with masks, on moulded square feet, 40 cm highThe gilding is still rich and lustrous and structurally the candelabrum are sound if a little crooked. The branches are fitted to the front and sides but none to the rear as these would have been made to sit either side of a clock on a mantle piece. The components would be generic and this model would have also been produced as a four branch table candelabras and so a hole is seen on the reverse. See the extra images for clarification.
Lot 382
Howard Miller Clock Company, United States. Large Focal Point wall clock with an acrylic dial with polished brass hour markers. With two black hands. Featuring a polished brass-finished bezel, off-white ring accents, polished brass-finished weights and pendulum, and nine chrome-plated chime tubes. The chime movement features 36 bushings (24 bronze and 12 jeweled), and plays three chimes - Westminster, St. Michael, or Whittington. There is an automatic nighttime chime shut-off option.Diameter: 28 in x length: 60 in.
Lot 406
Erte (Romain de Tirtoff) (French, 1892-1990). Art Deco bronze sculpture titled "La Mysterieuse," depicting an elegantly dressed woman, 1980. Etched with Erte's signature along the base. Stamped R.K.P. Int. Corp, dated 1980, and numbered 78/250 along the base.Height: 15 1/2 in x width: 9 3/4 in x depth: 14 3/4 in.
Lot 410
Mark Hopkins (American. b. 1953). Bronze sculpture depicting a cougar or mountain lion crouching along a tower of boulders. Signed, dated 1995, and numbered 78/750 along a rock along the base. With the original box.Box; height: 4 1/2 in x width: 11 3/4 in x depth: 10 1/4 in. Sculpture; height: 8 1/2 in x width: 6 1/2 in x depth: 4 1/2 in.
Lot 415
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Sleeping Phoenix," depicting a winged figure in a contorted pose. Initialed, dated 1961, and numbered 1/5 along the underside. Attached to a marble base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pgs. 12 and 85.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 215 (Plate 174).Height: 11 1/2 in x width: 13 1/4 in x depth: 6 1/4 in.
Lot 419
Flo Perkins (American, b. 1951). Hand blown glass sculpture titled "Chicago's Cactus," depicting a black vase with green and yellow spots supporting a bouquet of pink flower blossoms and yellow-green spines, possibly depicting cacti, attached with silicone, 1993.Provenance: Chicago International New Art Forms Exposition at Navy Pier; Private Arizona Collection; Private Minnesota Collection.Lot Essay:Flo Perkins is an American glass artist currently working and residing in the Pojoaque Valley north of Santa Fe, New Mexico. She received her Bachelor of Arts from the Philadelphia College of Art (1974), Master of Arts from the University of California at Los Angeles (1981), and she studied under renowned Italian master glass blower Lino Tagliapietra. Her work can be found in several museum collections including the Corning Museum of Glass, the Los Angeles County Museum of Art, the Albuquerque Museum and the Racine Art Museum as well as numerous public and private collections.In the 1970s Perkins was one of a small group of female artisan glass blowers. In the 1980s Perkins built her own glass studio in Pojoaque, New Mexico where she worked on learning Venetian glassblowing techniques. She further refined her glass making technique while studying with the Murano glass master Lino Tagliapietra.While living in New Mexico in the 1980s and 1990s she studied botanical forms including cacti, flower buds and bouquets and began incorporating those forms into her work as seen in the work offered here. In the 1990s she began incorporating bronze, steel bars and iron into her glass work to create larger works including lattices, wreaths, swags and bouquets.By the early 21st century Perkins had mastered her glassblowing technique and become known for her creation of brightly colored botanical sculptures created using Italian techniques including murrina, reticello and granulare. She also built her fourth hot shop on her estate located 20 miles north of Santa Fe, New Mexico.In addition to her glass work, Perkins has taught at the Pilchuck Glass School, California State University at San Jose, Penland School, and the University of California in San Diego. Additionally, she has taught workshops for students at the GlassRoots hot shop in Newark, New Jersey.Height: 22 in x width: 13 in x depth: 14 in.
Lot 421
John Rood (American, 1901-1974). Bronze sculpture titled "Little Cloud Rock," resembling a bonsai tree, ca. 1964. With three legs, each ending with a small protective rubber pad. Signed along the underside.Provenance: Distinguished Corporate Collection, Minnesota.Height: 11 1/2 in x width: 16 in x depth: 6 1/2 in.
Lot 425
Robert Wyland (American, b. 1956). Pair of sculptures titled "Children of the Sea," depicting a pair of jumping dolphins. One is cast in pale purple acrylic and the other is cast in bronze. The bronze sculpture rests on a marble base and is signed, dated 1990, and numbered 270/300 along the dolphin's tail.Bronze; Height: 9 3/4 in x width: 8 1/4 in x depth: 6 1/2 in. Acrylic; Height: 9 1/2 in x width: 8 1/4 in x depth: 5 in.
Lot 426
Group of two bronze sculptures in the form of animals including:One chameleon on a leaf chasing a bug, numbered 25/100 along the base.One bronze bird perched on a rock. Illegibly signed and numbered 1/1 along the base. Affixed to a granite block.Bird; height: 5 1/2 in x width: 5 3/4 in x depth: 4 in. Chameleon; height: 5 1/2 in x width: 4 3/4 in x depth; 2 3/4 in.
Lot 427
Ramon Parmenter (American, b. 1954). Bronze life-size sculpture titled "Tiny Bubbles," depicting a young girl in a flowing blue dress blowing bubbles, 1993. The bubble wand with a glass bubble. Signed, dated, and numbered 30/30 along the back along the apron strings. Ramon has mentioned that he is particularly interested in the human form; the dramatic interplay of muscle, limbs, and the torso. He is accomplished in many areas of expression including music, dance, drama, athletics, painting, sculpting, and writing. His ability to master these disciplines adds to his ability to create unique works of art.Sculpture; height: 42 in x width: 15 1/2 in x depth: 19 3/4 in. Base; height: 3 in x width: 16 in x depth: 22 in.
Lot 428
Ramon Parmenter (American, b. 1954). Life-size bronze sculpture depicting a young boy holding a baseball and bat, 1993. Signed, dated, and numbered 11/13 along the pant leg. Ramon has mentioned that he is particularly interested in the human form; the dramatic interplay of muscle, limbs, and the torso. He is accomplished in many areas of expression including music, dance, drama, athletics, painting, sculpting, and writing. His ability to master these disciplines adds to his ability to create unique works of art.Sculpture; height: 46 1/2 in x width: 14 in x depth: 12 in. Base; height: 3 in x width: 22 in x depth: 16 in.
Lot 596
Joan Miro (Spanish (Catalan), 1893-1983). Color lithograph on paper titled "Le delire du couturier - bleu, rouge, vert (Fashion Frenzy - Blue, Red, Green)" depicting abstracted shapes in white against a three-toned gradient background, 1969. Pencil signed along the lower right; numbered 7/30 along the lower left.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Sight; height: 47 in x width: 31 1/2 in. Framed; height: 57 1/4 in x width: 41 1/2 in.
Lot 597
Joan Miro (Spanish (Catalan), 1893-1983). Color lithograph on paper titled "L'oeil de Faucon (The Hawk's Eye)," depicting abstract shapes of black, red, green, yellow, and blue, 1971. Pencil signed along the lower right; numbered 26/50 along the lower left.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Height: 47 in x width: 30 1/2 in.
Lot 598
Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint with carborundum on paper titled "Prise a L'hamecon (Caught on the Fish Hook)," depicting abstract shapes of black, red, green, yellow, and blue, 1969. Pencil signed along the lower right; numbered 42/75 along the lower left.Literature: Dupin, 515.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Unframed; height: 42 in x width: 26 1/4 in. Framed; height: 51 1/2 in x width: 36 in.
Lot 69
A 19th century French bronze, brass and gilt metal repeating carriage clock, gilt cream dial, Arabic numerals, acanthus cast handle, the case inset with bronze allegorical throughout, ornate column corners, striking unmarked movement, the case engraved beneath presented to James Hemingway on the first anniversary of his birth by Frederick Collins, 4th August 1894, 20cm high, 10.7cm wide, 9.2cm deep, leather travelling case
Lot 52
GILBERT BAYES (BRITISH 1872-1953) A YOUNG DIANA, 1915 bronze, green marble base, signed, titled and datedDimensions:bronze 28cm (11in) high, including base 40.5cm high (16in) highProvenance:Provenance: Bayes Trust, dated 1915, no plinth;Private Collection 1915;Sotheby's 12th April 1985;Agnews 1986;Sotheby's 15th March 1991;Sotheby's 6th June 1997.Note: Exhibited: Versions of this figure have been exhibited at the following locations: Edinburgh (1914 (sold 10gns)); Leicester Galleries, Glasgow, Leeds 1916; Bristol 1917; Ridley 1980; Fine Art Society 1918 and 1920; Russell Gallery, Bradford 1990 (sold); Royal Academy, Bristol, 1920; Goupil 1924; Manchester 1928; Rio 1930; Institute 1933 (18gns).Literature: Irvine, Louise and Atterbury, Paul, 'Gilbert Bayes: Sculptor 1872-1953', Richard Dennis 1988, p.123. (Illustrated).
Lot 62
CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941) FOR THOMAS ELSLEY HINGE, CIRCA 1902 bronze, stamped twice 'ELSLEY'S'Dimensions:46cm (18 1/8in) longNote: Literature: Livingstone K. et al 'C.F.A Voysey: Arts and Crafts Designer', V&A Publishing, London 2016, p. 238, pl. 298 where a similar example is illustrated.
Lot 64
§ GILBERT BAYES (BRITISH 1872-1953) 'ANATKH' (DESTINY), 1918 patinated bronze on a slate base, model for The Ramsgate War Memorial, signed and dated Dimensions:bronze 56cm (22in) high; including base 59cm (23 1/4in) highNote: Literature: Irvine, Louise and Atterbury, Paul, 'Gilbert Bayes: Sculptor 1872-1953', Richard Dennis, 1988, p. 124 illus.Note: British sculptor Gilbert Bayes (1872-1953) rose to prominence in tandem with a burgeoning demand for the arts. In the wake of WWI, there emerged a desire to erect commemorative statues which symbolised the trauma of war and the tragic loss of life. Bayes' workshop was at the forefront of the public's stimulation of a war memorial movement, representing one of the greatest examples of national patronage of sculpture. Exhibitions were held at the Victoria & Albert Museum and Royal Academy to aid local communities and regions in their choice of sculptors, materials and subject matter. Bayes’ emotive work, Destiny, was shown at the Royal Academy in 1916, and subsequently used as the centrepiece for the Ramsgate War Memorial. This bronze statuette of this model was produced later in 1918.
Lot 66
§ GILBERT BAYES (BRITISH 1872-1953) A SEA FROLIC, 1897 copper relief plaque, together with another bronze plaque, each signed and dated lower leftDimensions:upper panel 29.5cm (11 1/2in) high, 8cm (3 1/4in) wide, lower panel 24cm (9 1/2in) high, 8cm (3 1/4in) wideProvenance:Provenance: Christie's, South Kensington, 19th May 1999, lot 669.Note: Literature: Irvine, Louise and Atterbury, Paul, 'Gilbert Bayes: Sculptor 1872-1953', Richard Dennis, 1988, pp. 83 and 96 illus.
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