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Lot 294A
Fine Victorian inlaid walnut credenza with an inverted breakfront, serpentine ends, diapper frieze, glazed panelled door flanked by 2 curved panelled doors and turned tapering columns, with gilt metal mounts, on a plinth base, H. 110.5 cm, W. 182 cm, D. 45.5 cm (66 cm split to right side of top, sunken at the end)
Lot 86
Sir Jacob Epstein (British 1880-1959) The Third Portrait of Jackie (Ragamuffin) Variegated bronze head study of a young boy, on a stepped grey marble plinth base, Head height 26.2 cm approx. Overall 31.7 cm. Provenance: Victor Waddington 25, Cork St, London. The bronze was acquired by Victor Waddington directly from Jacob Epstein. The bronze will be sold together with a colour photograph, on the back of which is the following statement. ? I Victor Waddington certify that the bronze of which this is a photograph came to me personally directly from the late Jacob Epstein and was chosen by me in my Dublin Gallery? signed Victor Waddington, 25 Cork Street, London W1, 6-12-77.
Lot 484
An early 20th century oak roll-top desk, with tambour enclosing a fitted interior above two stationery slides and an arrangement of nine drawers, on plinth base, height 110cm, width 107cm, depth 66cm.Additional InformationLight age wear commensurate with age and use, but overall clean and bright. May have been professionally cleaned in recent years and some general scuffs around the base.
Lot 77
MACKENZIE THORPE; a limited edition resin sculpture, 'With me Dad', numbered 50/50, approx 43 cm height. (D)Additional InformationScratches and scuffs to the blue frame and plinth base, box is damaged, lacking certificate. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 1071
A pair of excellent quality white marble and ormolu triple light Table Lamps, the elegant tapering pillars having complex design bases with Acanthus leaf detail, the three scroll supports terminating in highly detailed paws raised on a tricorn plinth, in turn raised on a lower tricorn shaped plinth with an ormolu frieze, the triple lights to each having fluted sconces and candle-like sleeves and having a central rod carrying handle with a flame designed finial/knob, 34'' high approx. (Have been wired for electrical operation but will require re-wiring for safety reasons).
Lot 191a
19TH CENTURY MAHOGANY TRIPLE BOOKCASE, shaped cornice and plain frieze above three glazed doors enclosing adjustable shleves with leather trim, on cupboard and plinth base, 166w x 39d x 232cms hComments: side cornice missing, upper section left base broken off (loose)The side cornice is missing. The veneer has also split in that area.There is damage to the left bookcase (see photos) piece is present.The bottom left door does not close properly.There are no keysThere is general wear all over including water marks, scratches and a burn to the top of the base.
Lot 201
§ Dame Elisabeth Frink (British 1930-1993) Fallen Man, 1960 1/6, signed and numbered, bronze with dark brown patina(16cm high, 60cm long (6.25in high, 23.6in long))Provenance: Private Collection, London.Footnote: Literature: Ratuszniak, A. (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.71, cat. no. FCR79 (another cast illustrated). 'The very fact of someone falling in space makes me feel nervous. I very often dream of falling through space myself. It becomes a nightmare and is very frightening. So it is always with me, this particular fear, which I think is a good thing because it starts off sculpture; it gives a sense of urgency which is important to me.’ (Elisabeth Frink quoted by Huw Wheldon, Monitor: An Anthology, Macdonald, London, 1962. p. 28.) Elisabeth Frink’s Fallen Man is part of a highly-important theme in her practice, in which her childhood experience of World War Two, fascination with the nude male figure and existential concerns about mankind are brought together. Frink was nine years old when war was declared. Her father was a cavalry officer in the British Army and served abroad for most of the conflict. Much has been made of Frink’s time in Suffolk near to Bomber Command air-bases during this period. As she explained: ‘there was a whole bunch of very jolly Polish airmen. They’d go off in their flying machines – and sometimes they got killed. We were right next door to an operational aerodrome and sometimes we’d see the planes coming home on fire.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, Frink: A Portrait, Bloomsbury, London, 1994, p.15). Many works of the early 1960s explored the themes of men in flight, men in space, spinning, falling and fallen men and eventually bird men, through which Frink explored the concept of men at war. Reviewing them later in her career, Frink declared: 'These sculptures were the nearest I got at that time to subjective ideas of the concept of a man involved in some kind of activity other than just being. So my earlier figures were not at all sensuous; they were too much involved with fractured wings or the debris of war and heroics. By this last phrase I mean individual courage.’ (as quoted in Ratuszniak, A. (ed.), op.cit., p. 72). In Fallen Man, the anonymous figure is depicted without stand or plinth. The point of direct contact between the work and the surface on which it is placed is key to conveying its concept. Facial features are suggested in the outsized head, atop the splayed and disfigured body. A sense of trauma, pathos and vulnerability is enhanced by the rough handling of the plaster from which it was cast. Edward Mullins has written about further sources of inspiration for this area of exploration: ‘The original impulse, in fact, was to make sculpture of a figure falling from space. The source here is dual. Since a child she has experienced dreams of herself falling and the sensation remains a powerful one in her imagination. More specifically, during the late 50’s she came across photographs of the French bird-man, Valentin, depicting him before he jumped (eventually he jumped to his death) helmeted and goggled and decked out in his special flying-suit with voluminous wings. This is the principal visual source of the various Bird-Men.’ (Edward Mullions, ‘Introduction’, The Art of Elisabeth Frink, Lund Humphries, London, 1972, unpaginated). Frink’s work defies precise interpretation. She declared: ‘what I’m doing is trying to set up a kind of encounter with the spectator, a dialogue between my sculptures and the public. People have to add part of themselves to make it work; they have to look into it as well as at it.’ (as quoted in Edward Lucie-Smith and Elisabeth Frink, op.cit., p. 64).
Lot 158
EMMA RODGERS (born 1974); an earthenware sculpture of a running hare incorporating a metal screw and nail, supported on a perspex rod mounted on a marble plinth, height 32cm, length 33cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 202
IAN GREGORY (1942-2021); a salt glazed sculpture of a dog on a square plinth, impressed IG mark, height 27cm, and another sculpture of a dog's head, height 21cm (2). (D) Additional InformationOne ear re-glued on dog on a plinth, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
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