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Lot 572
A collection of various tools etc to include a crate of various rulers and measuring implements including a Ryobi air grip laser level, steel rules, G clamp, heavy duty chisel, a box of silicon glue brushes, eight boxes of various wax and leather pattern makers fillet, smelting pot, box of sandpaper rolls, box of casters, two beech and chromed metal bound cramps, an autoway patent barrel weigher B104, a 42" steel floor standing vertical measure and a Center Mike hole location gauge
Lot 907
A Carved Limestone Male Torso, possibly medieval, 10.5ins high, on polished veined marble base, 14ins high overallCondition Report - There is damage to the torso's natural left side at the front of the shoulder, and some small areas of damage to the corresponding right side. There is some light bruising/wear to the chest and some chipping to the base at front and the torso's natural left side. The base of the neck is rough and uncarved, as opposed to the arms which have been finished with a chisel. This may suggest that this torso originally supported a head. There are two small holes to the front of the model, both below the right chest and also above the left breast. These may or may not have been part of the original design, but the interiors to these small areas are aged like the surface generally. There are also a series of light scattered scratches/bruises to the work. It is not attached in any way to the later polished marble base, nor was it ever intended to be attached. The base itself appears to be in good condition.
Lot 25
Leon Underwood (British, 1890-1975)The Sculptor black Irish marble38.7 cm. (15 1/4 in.) highCarved 1938-49UniqueFootnotes:ProvenanceSidney Rothman (probably acquired from the 1953 exhibition),thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Beaux Arts Gallery, Leon Underwood, 11 May-24 June 1953, cat.no.41Colchester, The Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, cat.no.120LiteratureChristopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p.176, pl.131 (ill.b&w)Ben Whitworth, The Sculpture of Leon Underwood, the Henry Moore Foundation in association with Lund Humphries, Aldershot, 2000, p.64, cat.no.118 (ill.b&w)The Sculptor appears to be the only carving Underwood made using black Irish marble, or Kilkenny marble as it is often referred to. An exquisite, fine-grained carboniferous limestone, its main source lies just south of Kilkenny, nicknamed 'the Marble City', in south-east Ireland.Of the present sculpture, which is appearing for sale through auction for the first ever time, Christopher Neve comments:'Ironically, with the 1939 Zwemmer exhibition indicating that his print-making and sculpture was not only increasing in momentum but beginning to regain a public lost when he went to America, war was declared. In no time he was frittering away a second spell in camouflage, this time attached to the Civil Defence department at Leamington Spa, with almost no opportunities for getting on with his work. The last major sculpture before the war is, significantly, The Sculptor, a massive and powerful figure in Irish black marble in which the head is drawn into the shoulders and all the forms block in on one another, the weight of the buttocks balanced by the heavy head of the mallet and the deliberately phallic and potentially productive chisel held against the body in front' (Christopher Neve, Leon Underwood, Thames and Hudson, London, 1974, p. 176)Whilst Underwood's earliest carvings in stone and wood appeared in the early 1920s, such as Torso in Tournai slate (collection: Tate Gallery, London), it was his sculptures of the mid-to-late 1930s which achieved greatest aesthetic resonance. African Madonna (St George's Anglican Cathedral, Cape Town, South Africa) for instance, in lignum vitae with silver-gilt inlay of 1934-35, is arguably his most impressive and successful. It was received in South Africa in 1935 to mixed reviews, to which Underwood explained his thought process, as Neve goes on to explain, 'In May, Underwood replied to his critics in an open letter to the Rand Mail, saying that he hoped in time the sculpture would be accepted as belonging to a new and different order of beauty by the descendants of those African artists 'whose simplicity of expression helped to rescue Western art from the slough of naturalism and vulgar sentiment' into which it has fallen in the nineteenth century.' (Op. cit. p.156). The Sculptor shares affinities with African Madonna, including its primitive, mask-like face and powerful over-sized forearm and hand. However, with the present lot the sculptor has jettisoned the rhythmic lines of lead or silver-gilt inlay which infiltrated his work during the middle part of the decade and concentrates all his artistic prowess on the medium to hand. Here, the inherent qualities of the fine-grained Kilkenny marble have been used to maximise impact. Part polished and unpolished, the areas left roughly sanded and are therefore less black, assist in accentuating the flowing lines of the glistening figure's body and face, thereby creating a dramatic sense of depth. It is the culmination of Underwood's twenty year-long investment with carving, as Ben Whitworth remarks:'Underwood's final carving was The Sculptor in black Irish marble, begun on the eve of the Second World War. This image of artistic power must not be read as a self-portrait, but it is ironic that, after making an image that epitomises the heroic view of direct carving, Underwood never again carved a block of stone or wood'. (Ben Whitworth, The Sculpture of Leon Underwood, The Henry Moore Foundation, Much Hadham, 2000, p.64)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 901
*Amended*A NORTHERN IRISH PINE SHIP CARPENTER'S CHEST ULSTER, 19TH CENTURY with parcel gilt decoration, carved with star motifs, an anchor and sword, a chisel and axe and initials 'AY' inscribed 'A Young', the hinged lid revealing an interior with a lift-out divided tray, with sunken iron side carrying handles 54.2cm high, 96.2cm wide, 50cm deep Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.
Lot 505
19TH CENTURY SYCAMORE CARVED LOVE-SPOON decorated with pierced treskelion motif over a pierced flower-head over a smaller geometrically carved flower circle, surrounded by chisel-point carving and with two scratched hearts, the reverse with crudely scratched 1854, 30cms Provenance: private collection, formerly with Tim Bowen Antiques, Carmarthenshire Auctioneer's Note: similar at Swansea Museum donated by Col. W E Llewellyn Morgan and described as Carmarthenshire in origin (postcard photo showing this example to accompany produced by Royal Institute of South Wales) Comments: chip to edge of bowl but without other fault, very good rich chestnut colour, good example
Lot 30
Ludwig Deutsch (Austrian, 1855-1935)The Woodworker signed and dated 'L. Deutsch 1884' (upper right)oil on panel40.8 x 28.6cm (16 1/16 x 11 1/4in).Footnotes:ProvenanceWilliams & Sons, London.Private collection, UK.Thence by descent. The present lot is an important subgenre within Deutsch's art – that of the connoisseur or Arab artisan, workman, or shopkeeper admiring an array of local handicrafts. Deutsch acquired hundreds of decorative objets when abroad, and these souvenirs of travel furnished both his Paris studio at 11 rue Navarin and the Orientalist pictures he produced until his death in 1935. It is also known that the artist frequented the photography studio of G. Lékégian in Cairo. Deutsch's interest in these items, and the element of personalisation, makes it hard not to imagine that the figure in the present lot is a surrogate for the artist himself, contemplating the next treasure to add to his carefully curated collection. The man may be identified as a woodworker, due to the particular type of chisel he holds, and the mother-of-pearl wooden inlaid drawer. His expertise in other crafts (and particularly metalwork) is suggested by the inclusion of a pair of bellows on the wall inside his niche-like shop. Interestingly, the interior of the wooden drawer is adorned with floral motifs and red paint, more typical of Turkish furniture and decorative objects than Egyptian.The red script to the right of this figure and on the door jamb or frame is inscribed with Arabic texts. There is, at top, the number '81'; the letters at the bottom read 'rqm' (raqem) meaning 'number'. This may refer to the government designation of local Cairene houses and businesses, made for tax or ownership purposes. The long diagonal red line between these two inscriptions might be the word 'Masr', meaning 'Egypt', although this would be an odd place and context for it. The craftsman's shop or workspace itself occupies a niche within this inscribed stone façade, in typical Cairene market street fashion. The aquamarine colouring of the ablaq courses is unusual, however – this striped stonework, typical of the Mamluk era, was usually black and white, red and white, or a combination of these three colours. Against the wall on the left are architectural remnants and part of a mashrabiyyah screen. This latter type of woodwork was created without the use of nails or glue; turned wood pieces are fitted together like pieces of a puzzle, to create a beautiful and intricately patterned surface that was at once open and closed. Mashrabiyyah windows were used in the harem in particular for this very reason, as they allowed the women within to see out, while simultaneously protecting them from others' view.The detritus on the ground might include an aged mango pip in the foreground on the right, and its inclusion suggests Deutsch's love of incidental detail. Contemporary artists such as the British Orientalist John Frederick Lewis also delighted in such details – Lewis's signature style was an assortment of orange or tangerine peels, however, scattered across the dirt or stone floors that he painted.We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.For further information on this lot please visit Bonhams.com
Lot 352
A mid 18th century lacquered Chinoiserie decorated tavern clocksigned John Austin, UxbridgeThe 30' octagonal dial signed on three of the eight sides of the moulded dial frame JOHN / AUSTIN / UXBRIDGE, over a trunk with 18' rectangular door decorated in silvered and gilt gesso with a tea ceremony scene, to a shaped chisel-foot decorated with gilt flowerheads, the sides similar, the 23' chapter ring with bold Arabic five minute markers and flowerhead 'half quarter' marks, and large Roman numerals with pierced counter-poised brass hands, the weight driven movement with small rectangular plates united by four knopped and ringed pillars, with a five-wheel train to an anchor escapement, the weight descending via two pulleys mounted to the underside of the top of the case, 157cm high approximately Footnotes:Please note that the movement is associated.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 1335
A Pratt ware pocket watch stand c.1800, the watch support surmounted on the tails of two dolphins above a plinth moulded with Ceres or Plenty, flanked by two figures, one a Classical maiden with a dolphin, perhaps Venus, the other of a stonemason holding a chisel and with one hand raised, with a Pratt model of a longcase clock, small damages and restorations, 22.5cm. (2)
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