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Lot 654
Various finely detailed 1:1200 or similar Naval Waterline Models glued to various boards, Board 1, Aircraft Carriers (2) various Battleships and support ships and Liner with plane (20), Board 2, Battleships, support vessels, tanker and Liner (16), Board 3, Carriers (3) Battleships and other Naval Vessels (15), Board 4, five Naval Vessels, tanker, fourteen smaller support vessels including Tugs and two subs (22), USSR Krivak 11 on a plinth and two clay models on card, F-VG, some with minor damage and a bit grubby, (six boards, 70+ vessels)
Lot 655
Various finely detailed 1:1200 or similar Naval and Liners Waterline Models by various makers and glued to various boards, mix of Liners, Tankers and Naval vessels on board (17), Queen Mary and two other Liners, and seven Naval vessels on board, HMS Neptune, Colossus and Dreadnought, Type X1 and Class D Subs and Monitor on individual 'sea' painted boards and USSR Krivak 1 on a plinth, some minor damage and grubby (9 boards 37 vessels)
Lot 11
DAVID KING, MONTROSEMAHOGANY LONGCASE CLOCK, EARLY-MID 19TH CENTURYwith a broken-swan neck pediment and three urn finials, above the painted dial depicting the Annunciation with two subsidiary dials, signed DAVID KING/ MONTROSE, the trunk flanked by quarter-reeded columns, above a plain plinth base, with a case key, winder, two weights and a painted pendulum51.5cm wide, 214cm high, 24.5cm deepProvenance: Ian Burton Antique Clocks, AuchterarderNote: David King of Montrose is listed as having worked between 1821 and 1851.
Lot 121
SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.
Lot 122
SIR ALFRED GILBERT R.A. (1854-1934)PERSEUS ARMINGbronze, raised on a verde antico marble plinth36.5cm high (bronze), 40cm high (with plinth)Provenance: The Fine Art Society, LondonNote: Alfred Gilbert was born in London and joined the Royal Academy in 1873 before going on to study at the École des Beaux-Arts and becoming one of the most influential sculptors of his generation and the New English Sculpture movement. Gilbert’s international career took him to Rome from 1878 until 1884 where he learnt the 'cire perdu' or ‘lost wax’ technique of bronze casting and was one of the first artists to reintroduce it in England. Gilbert sought to reinvigorate classical myths in order to make them more relatable to a modern audience, stating to Joseph Hatton about Benvenuto’s Cellini’s bronze Perseus and Medusa that ‘’amazed as I was by that great work it still left me somewhat cold, insomuch that it failed to touch my human sympathies’’. Gilbert’s Perseus Arming was commissioned by Sir Henry Doulton and won an honourable mention at the Paris Salon in 1883. Rather than depicting Perseus in the dramatic aftermath of slaying the Gorgon Medusa, Gilbert’s Perseus Arming is instead a sensitive portrayal of the young hero anxiously checking his winged sandals. Gilbert stated ‘’I conceived the idea that Perseus, before becoming a hero was a mere mortal and that he had to look to his equipment’’ which was a radical departure from the traditional iconography associated with the heroic masculine figure. Gilbert adopts the classical figura serpentinata and free-standing bronze statuette, which were both celebrated features of Italian Renaissance sculpture, but modernise the subject matter by humanising Perseus as an endearing and vulnerable adolescent. This psychological dimension was a key aspect of the New Sculpture movement and can also be seen in Gilbert’s Comedy and Tragedy which is often exhibited alongside Perseus Arming. Comedy and Tragedy captures the exact moment a theatre prop boy is stung by a bee as he rushes to the stage with a comedy mask. The boy is suspended on one foot as he twists to examine his injury, perfectly framing his anguished face in the gaping grin of the comedy mask. This dynamic pose reflects the New Sculpture’s emphasis on dynamic compositions as the narrative is most effectively appreciated in the round. The Latin subtitle Sic Vita meaning ‘Thus is life’ is perhaps an autobiographical aside referring to Gilbert’s mounting financial worries, dissatisfied clients and marital problems as he conceded “I was living a kind of double life at that time…with Tragedy in my private life, living my Comedy publicly”.
Lot 375
MANNER OF DANIEL COTTIERVICTORIAN GOTHIC REVIVAL CARVED POLYCHROME OAK BOOKCASE, CIRCA 1860the projecting moulded cornice with leaf and dentil friezes supported on three reeded columns with leaf-carved capitals, opening to two banks of five graduated shelves, raised on a deep carved base with three drawers, each with fronts carved with leaves, berries and acorn clusters, on three massive scrolled supports with corresponding carved detail, raised on a plinth base202cm wide, 237cm high, 71.5cm deepProvenance: Paul Reeves, London
Lot 473
MANNER OF SIR NINIAN COMPERPAIR OF PAINTED WOOD GOTHIC REVIVAL TORCHÈRES, CIRCA 1860each of octagonal section with gilt and polychrome decoration, the moulded capitals with pierced gallery above tall column support on a corresponding moulded base with later plinth (2)170cm highNote: These torchères are possibly adapted from riddel posts. Riddel posts were situated around the altar, which supported the rails and altar curtains, and perhaps a cloth stretched above. Altar curtains were often known as 'riddels' (from the French rideau, a word also used for ordinary domestic curtains). Several riddel posts designed by Sir Ninian Comper are still in existence and include examples at Ely Cathedral, St. Wilfrid's, Cantley and the Church of St Paul, Bedford.
Lot 532
H. CROWTHER, LONDONPAIR OF CAST LEAD GARDEN STATUES, MODERNmodelled as a pair of gardeners in 18th century costume, the man holding a digging spade, the lady holding a basket of posies, each raised on octagonal composition stone plinths (2)gentleman 131cm high, lady 132cm high; each plinth 38.5cm high
Lot 67
THREE TABLE LAMPScomprising a carved example with gilt highlights, with an acanthus leaf column above a square base, 51 cm high (excluding fittings); a mahogany table lamp of shouldered form on a socle base and square plinth, 39cm (excluding fittings); and a Staffordshire glazed figure, converted to a lamp, 30cm high (excluding fittings); all wired for electricity with shades (3)
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