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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
Lot 438
PAT HIGGINBOTHAM (1928-2010); 'Pot head', a large stoneware bust on a circular plinth with detachable ring, impressed PH mark, height 51.5cm. (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 86
CHRIS KEENAN (born 1960); 'Abode of Stones II', an installation of 21 Limoges porcelain tapered vessels and rocking bowls covered in celadon, tenmoku, green and mottled glazes arranged on an oval leather backed plinth, impressed C marks, tallest vessel 12cm, plinth maximum diameter 58.5cm (22). An interactive play piece to be displayed at the discretion of the buyer. Additional InformationAppears good with no obvious signs of faults, damage or restoration.
Lot 89
CHRISTY KEENEY (bon 1958); an earthenware flattened female head on a plinth and wooden base covered in polychrome staining, incised signature dated 1975, height 50.5cm. (D) Provenance: Purchased from the artist.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 312
A pair of impressive cast iron tulip form garden urns with everted rims and lotus moulded bodies over a square plinth bearing the legend. Cast at Briggs -Barrow, For R.Bradnee London 1880. 49 cm diameter x 61 cm overall height.Private estateNo apparent major defects but rusty surface, may have been bead blasted.
Lot 343
A pair of cast stone figures of standing heraldic lions each holding a shield with "lion rampant" armorial bearings on square architectural plinths. 155 cm overall height x 26 cm wide at the plinth.Private estateThe lions and plinths are reconstituted stone and are moulded rather than carved, It is difficult to asses age given that they have weathered nicely and have a good "crusty" appearance now being weathered for some time. I would think these might be 50 yrs old or a little bit older but not by muchSee the image of the damage to the corner of the one lion's base. The one trunk section of the plinth has two long, longitudinal cracks.Some established weathering and some slight knocks and chips A large chunk is knocked off the corner, we have the chunk in question, it is the site of an old repairSee images for clarification of points raised above
Lot 367
An Edwardian oak seven drawer Wellington pedestal chest, with carved corbels and a single register bar, on a simple shaped box plinth. 60 cm wide x 42 cm deep x 132 cm overall height.Some cracks to the veneer of the topNo key is presentThe sawn pine backboards are in place but have been covered by hardboard for some reason.
Lot 370
A 19th-century style walnut and marquetry serpentine two-door chiffonier with green marble top and gilt metal mounts throughout. Supported on a deep, shaped plinth. 122 cm long x 53 cm deep x 104 cm high.The marble top is intact and undamaged/ repairedThe doors are unlocked but we do not have a keyThe feet are a little scuffedThe cupboard has two holes cut in the back panels from when it housed media equipment.
Lot 401
A pair of large French 19th century figural bronze candelabras, in the form of cherubs on a column pedestal plinth, (currently in loose parts), the bases c.58 cm high. Please note this item is in pieces, as per the photos, and will required restoration / re-assembly. All pieces may not be present
Lot 458
A 19th century French bronze, modelled as a seated Roman Emperor, holding a scroll and resting his arm on his helmet, his foot upon a fallen Aquila and quiver of arrows, a further upturned Aquila behind, seated on a gilt metal plinth in turn on a rectangular base with four ball feet, 49cm high, 45cm wideAn object vacant from his left hand, a further object likely missing from the cape at the rear. Gildng tarnished. The interior of the gilt plinth has circular holes to the front and rear, giving an indication that this could have been primarily a clock case but left as is.
Lot 542
A small unmarked silver and cloisonne enameled peacock ornament on a wooden stand, probably Indian early 20th century. Dimensions, the height of figure 15 cm, height with stand, 18.5 cmLoses to enamel, heavy tarnish, the figure is tied to an unrelated plinth, the figure appears to be unmarked.
Lot 70
A Japanese Meiji period carved ivory okimono, depicting a group of figures below the shade of a pine treeThe okimono looks in good condition, the front left and side figure with one small piece missing coming our of the figures hat, the wooden plinth with a large chip to the front and chips to the back.
Lot 15
From Reeves Designs a well-constructed model of a "Regent" double crank twin cylinder compound engine, scaled up version, built in 1996 by Bob Gentry, High Power Cylinder with 1" Bore, and Low Power Cylinder with 1.5" Bore, Stroke 1 1/8", excellent example hand-painted in green and housed on wooden plinth, height 24cm
Lot 25
A wooden and GRP hulled radio-controlled model of a single propeller Tug Boat named Alice, finished in red, black and white with brown superstructure and plank decking, removable superstructure to reveal remaining RC component, housed on a wooden plinthLength 32". Width at widest part of beam 8 1/2". Height to top of mast 18". Does not appear to have any motors.We have no means of testing the controls, and the item is sold "as found".
Lot 976
Two trays containing a quantity of Corgi and Matchbox modern issue boxed models to include various Corgi Classics bus and coach models as well as a Chitty Chitty Bang Bang 25th anniversary model with wooden plinth - the model has had one rear light glued back in place, as well as various Matchbox Yesteryear models such as the limited edition Austin 7 collection and Fire Engine models
Lot 1010
Dinky Toys No.299 emergency services gift set, containing a Police Jaguar in poor condition. Superior Criterion ambulance with stretcher in good condition, Nash Rambler, and an airport fire tender in good condition, but have age-related wear plus a Bedford "Top Rank" Bedford Recovery truck, again with age-related wear in an original outer display box (Good-Excellent) with reproduction inner plinth (5 items in set all with playwear).
Lot 1645
Corgi Toys No. 270 James Bond NEW Aston Martin DB5, silver (larger body than 261), revolving plates and tyre slashers on rear wheels, on plinth with documents inside to include instructions, lapel badge, part used number plate sheet and one spare bandit figure, in the original plastic vac-formed bubble packaging - the plastic bubble is complete with no damage, but has been taped down in the past. A rare item (NMM-BVG)
Lot 383
Large Dutch Delft blue and white porcelain eight-tiered pyramidal tulipiere. The porcelain pedestal is supported on lion's paw feet and painted with mythical scenes. Each tier with four molded dolphin spouts at the corners and decorations depicting flowers, country scenes, and gamboling putti. Illegibly signed and with a Delft vase mark. On a painted wood plinth.(Without wooden plinth) Height: 57 1/2 in x width: 16 1/2 in x depth: 16 1/2 in.
Lot 751
VICTORIAN PAINTED OPAQUE GLASS OIL LAMP,with etched glass shade, decorated with ribbons and foliage, with brass mounts, on a marble base, 62cm highCondition report: Shade with nibbles to upper rim interior, also fritting, lower rim which sits on base with typical small chips and abrasions, upper section quite loose in its location to base, base itself loosely fitted to the stone plinth, movement overall, column has been cracked with the damaged section loosely still in place, rubbing to painted decoration and scuffs, tarnish and nicks to metal mounts, nibbles to corners and scratches to stone base, additional images available
Lot 690
A Mid 19th Century French Ebonised and Inlaid Mantle Clock HRY Marc- ParisThe Plinth Shaped Case with Carry Handle with Rising, Glazed Front and Lift Off Back Cover, to a Signed, Roman Enamel Dial with Trefoil Hands, to a Signed Circular Brass Movement with Back Mounted Courtwheel, Anchor Escapement and Silk Suspension and Strike on a Bell, 2453824cm heightQty: 1Case - all over age related wear and slight losses to veneers on edges and cornersDial - hairlines to cornersMovement - appears complete, free and running, hands set and winds at present
Lot 117
A REGENCY BRASS-INLAID ROSEWOOD CARD-TABLE Early 19th century, the rounded rectangular swivelling top enclosing a green baize-lined playing-surface above a well, on a lyre-shaped support and shaped plinth, with outsplayed legs with brass caps and castors; 74.5 cm high, 91 cm wide, 45 cm deep
Lot 126
A LARGE GEORGE III MAHOGANY BREAKFRONT LIBRARY SECRETAIRE BOOKCASE late 18th century, with a shaped cornice over glazed doors with plain gothic arched glazed bars, the base with central secretaire drawers over double cupboards with circular banded fronts opening to reveal interiors with shelves and four short drawers, on a plinth base, 279cm wide
Lot 127
A GEORGE IV MAHOGANY BREAKFRONT SECRETAIRE BOOKCASE First half 19th century, the rectangular breakfront top with five sections, the central double section and end sections with tablet pediments surmounted by bronze-painted balls, above a central pair of glazed doors enclosing three long adjustable shelves, the narrow sections with twelve adjustable shelves, the central base section with two shallow drawers above a secretaire drawer with rosewood knob handles, above a pair of doors, the recessed base sections with doors enclosing four graduated drawers, the end sections headed by simulated drawers, each enclosing two adjustable shelves, on a plinth base, restorations and replacements, 302cm high x 371cm wide x 65cm deepProvenance: The estate of the late Sir David & Lady Black, removed from Beech Farm.
Lot 133
A PAIR OF GEORGE IV MAHOGANY LIBRARY BOOKCASES First half 19th century, in the manner of Gillows, each with a plain rectangular top over a shaped cornice carved with acanthus leaves and foliate bosses above four glazed doors each enclosing four adjustable shelves, flanked by fluted columns with leaf-carved volutes, on a plinth base, 243cm wide (2)
Lot 76
A PATINATED BRONZE MODEL OF THE DANCING FAUN Neapolitan, 19th century. Of typical form, with left arm raised, looking skyward, the bearded head with two horns and entwined with acorn husks, on a rectangular plinth, 82 cm high overall; the plinth: 6 cm high; 28 cm wide; 30.5 cm deep. The bronze is after a Roman figure of a faun, found in Pompeii on 26 October 1830 and now in the Museo Nazionale, Naples. In part owing to its compact size (71 cm. high - only slightly smaller than the current bronze), its fame was instantaneous. (F. Haskell & N. Penny, Taste and the Antique, 1981, no. 35, pp. 207-8).
Lot 77
A ROMAN MARBLE HEAD OF A YOUTH Probably 2nd century AD, the head turned slightly to dexter, with tightly curled hair, on a turned dark metal column support, set into a square pedestal on a square plinth, 31 cm high (excluding base) The pedestal & plinth 13 cm. high; 19 cm. square: Provenance: Acquired by the present owner from an old private collection, Hampshire, in the late 1960's.
Lot 1379
An Indian votive figure of Durga cast brass, depicted slaying the buffalo demon Mahishasura with a trident, whilst being supported by a tiger under her right foot, 6.5cm high, with a perspex plinth, an Indian brass figure of Durga, 10.4cm, with a base, an Indian brass figure of a standing horse, 5.5cm high, with a base and an Indian bronze figure, possibly Bhairava, with an attachment loop to the back of the head, 7.5cm high, fixed to a base. (7) Provenance Galerie Slim, Paris, 1980.
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