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Lot 103
*Gandhara Carving. Large schist carved stone head of Bodhisattva, from the Ancient Buddhist Kingdom of Gandhara, Pakistan 2/3rd Century, well carved with characterful face and elongated earlobes, 18cm high on a Portland stone block plinth, overall height 28cm Provenance: James Koo Galleries, Singapore. Found in the Swabi District, Northern Pakistan. (1)
Lot 458
*De Morgan (Evelyn, 1855-1919). The Angel of Death, 1885, gold coloured pastel and black chalk on dark grey-brown wove paper, depicting a young woman seated on a rocky stepped plinth, her eyes half-closed, and her arms placed on the left arm of an angel who stoops over her and carries a scythe, monogrammed 'EP' and dated 1885 in gold lower right, 44.5 x 36.5cm (17.5 x 14.5ins), mounted, framed and glazed, with remains of old manuscript label on backboard 'The Angel of Death, Not for sale, De Morgan, 1 The Vale, Kings Rd, Chelsea' Evelyn and William De Morgan lived at 1 The Vale in Chelsea for 22 years. At that time a number of artists resided in close proximity in and around the area of The Vale: the De Morgans rented their house to Walter Sickert and his Chelsea Life School when they were on their travels abroad; James Whistler lived at 2 The Vale, which was subsequently occupied by Charles Ricketts who began the Vale Press there; on the same side of the Vale, close to the King's Road, was a chapel which was for a time the studio of sculptor Thomas Stirling Lee; and others who were not far away include Augustus John, Cecil Hunt, John Da Costa and Charles Maresco Pearce. Evelyn De Morgan painted two oils titled 'The Angel of Death'. One was executed in 1880, and exhibited in 1881 at the Grosvenor Gallery, London, and it is now in the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, plate 8). The other, dated 1890, was destroyed in 1991 when a fire raged through Bourlet's art storage unit in London where some of the De Morgan Foundation's art collection was held (plate 37). This remarkable study was executed, therefore, in the interim period between these two works, whilst the artist was as yet unmarried. It is one of a small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and none, to our knowledge, has ever before appeared at auction. Only a small number of artists used this technique, Edward Burne-Jones being one of them. It is generally believed that such works were final detailed compositional studies. Given that the artist was so prolific and meticulous in producing studies for her full-scale oils, it is perhaps not surprising that this view has come into existence. However, the De Morgan Foundation acknowledges that 'These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such'. Given this, and the fact that our study post-dates the initial oil of the same subject it now seems quite certain that such a work was done either for the artist's own pleasure (as seems to be the case here), or as a gift for, or commission from, an admirer of the oil painting. It is interesting to note that in the original oil the female figure gazes upwards with unseeing eyes which are clearly open, whereas here the young woman's gaze is downwards with her eyes half-closed, as it is in the later oil painting of 1890. The De Morgans were very interested in spiritualism, and especially angels, as evidenced in much of the symbolism of Evelyn's work. In her initial oil painting, the gentleness of the angel's touch, and grateful embrace of the frail girl is underlined by the weeds symbolising a hard life, and the spring flowers indicating joy to come. Here, however, as is typical of Evelyn's studies in gold, the background detail is pared away, and the figures, in all their beauty, come into stark relief.(1)
Lot 486
*Rodin (Auguste, 1840-1917). Bust of Balzac, bronze with green patination, from the edition of 11, executed in 2000 at the Guastini Foundry, Italy for Master Limited Edition, stamped Reproduction and numbered 9/11, on a labrador granite plinth, 25.5cm (10ins) high (including base) Provenance: Hay Hill Gallery; Collection of Roy Davids. (1)
Lot 465
*De Morgan (Evelyn, 1855-1919). Portrait of a boy, 1874, oil on canvas, full-length study of a dark-haired young boy in a loin cloth, leaning against a plinth, with legs crossed at the ankles, dated and initialled upper right corner, somewhat soiled and rubbed (wearing thin in a few places), 53 x 27.5cm (21 x 10.75ins) Executed whilst Evelyn De Morgan was a student at the Slade School of Art. The De Morgan Foundation has a remarkably similar full-length portrait, of a young man in a loin cloth, which they describe as: "a very rare life study in oil on canvas" from the artist's early student days, adding "only once the student had satisfied their teacher that they were proficient with pencil and pastels would they be allowed to progress to working with oil paints". (1)
Lot 538
Art Deco French Plaster Figure Group A large example raised on rectangular plinth in the form of seated female with Greyhound and sphere. Signed to back 'S. Milani, Academia, 2073', figures finished in dove grey metallic paint, the base in pearlescent Eau De Nil. Height 15 inches at highest point, length, 34 inches, width, 7 inches. Some scuffs exposing white plaster beneath, no signs of repair or restoration.
Lot 543
Lladro - Large and Impressive Porcelain Figure Group ' Rickshaw Ride ' Raised on a Wooden Plinth, Model No 1383. Sculptor Salvador Debon. Issued 1978 - 2005. Height 12 Inches - 30 cm & Width 12.25 Inches - 31 cm. The Group Figure Is In Mint Condition & 1st Quality. Last Retail Price $2,200 Dollars.
Lot 1301
A Victorian 19th century mahogany twin pedestal desk of small proportions. Raised on plinth bases to the pedestals, each with bank of drawers having inset black writing surface to the desk top. Further 3 drawers above pedestal and central kneehole recess. Measures: 72cm high x 106cm wide x 61cm deep.
Lot 130
A selection of 20th century ceramics to include a Wedgwood Dancing Hours Collection 'Horal Posy' limited edition number 146 depicting a dancing woman on a jasper ware plinth, a Coalport Music and Dance Sonata figurine, a Wedgwood commemorative millennium clock, and a small German novelty figure group 'Three o'Clock in the Morning'. Measures 27cm-high tallest.
Lot 1421
Sylvia Morris ( British 20th century ) A full size carved wooden fairground inspired carousel horse. This full size horse of solid wood construction being a single commission piece believed to have been exhibited in Bristol in the 1990's. Solid throughout with pictorial folder indexing its construction by the sculptor. Hand painted thereafter and raised on a large wooden plinth base with castors. Measures 158cms high x 158cms long x 61 cms deep
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