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Lot 438
BLORE, Edward, The Monumental Remains of Noble and Eminent Persons, comprising Sepulchral Antiquities of Great Britain (1826), numerous plates, marbled boards, bound in quarter light brown leather with raised bands and gilt lettering, bookplate of Anthony de Reuck, 4to; GREENHILL, F.A., Incised Effigial Slabs: Volumes 1&2 (1976), two volumes, in its slipcase; VARIOUS AUTHORS, The Archaeological Journal: Alabaster Tombs of the Gothic Period, Volume LXXX (1923); CHEETHAM, Francis, English Medieval Alabsters (2005); HOLLIS, Thomas & George, The Monumental Effigies of Great Britain (2012); HUNT, John, Irish Medieval Figure Sculpture 1200-1600 (texts and plates) (1974), two volumes (8)
Lot 215
Ghisha Koenig (British, 1921-1993):Factory scene, bronze relief sculpture, H 60 x W 71 cm. Note: As in the present example, Koenig's work focused on the work place, especially factories as a hub of human activity. She studied at the Hornsey School of Art, the Chelsea School of Art with Henry Moore, & the Slade School of Art. During World War II she was a member of the Auxiliary Territorial Service. Her first solo exhibition was at the Grosvenor Gallery in London in 1966. Please note that Artist's Resale Rights may apply to this lot.
Lot 266
After Willem van der Vliet, a scholar in his study with girls with masks, possibly an allegory, Continental School probably Dutch 17th/18th Century, oil on oak panel, 61cm x 41cm, unsigned, French Empire style gilt frame 77cm x 57cm. Interesting old copy after the original which sold at Sotheby's New York 27th January 2011 Lot 141: http://www.sothebys.com/en/auctions/ecatalogue/lot.141.html/2011/important-old-master-paintings-sculpture-n08712 Tags; Dutch Golden Age, Utrecht Caravaggisten, Caravaggism, Caravaggisti. CONDITION REPORT - panel sides and back bevelled but top square - possibly cut down, losses to paint, large split with old canvas repair to back, general wear to frame.
Lot 345
Ted Secombe, set of rocks, studio porcelain sculpture group, 2014, matte crystal glaze (4)Note: Australian studio potter, Ted Secombe has been working as a ceramic artist for over 30 years. Internationally renowned for his colourful crystalline glazes and striking forms, his pieces are housed in numerous public collections throughout Australia, China, Europe and America, including Auckland Museum and Illinois Art Gallery, as well as private institutions. A large collection of his recent work appears in the following lots.
Lot 469
Six art/sculpture publications, one bearing the signature/autograph of Henry Moore. 'Derriere Le Miroir', No. 142, 1964 (Raoul Ubac), featuring colour lithographs; 'Derriere Le Miroir', No.158-159, 1966, La Revue Blanche, (Bonnard, Toulouse-Lautrec, Vuillard, Roussel, Seurat, Maurice Denis), featuring lithographs and colour prints; 'The Technique of Sculpture', John W. Mills, 1976, with gift inscription to front free endpaper: 'For Walter, with warmest regards, from Henry (Moore), April 25th 1980, Much Hadham'; 'Piper's Places', Richard Ingrams & John Piper, Chatto & Windus/Hogarth Press, 1983, hardback 4to; 'Brancusi', Radu Varia, published by Gallimard, 1989, large square 4to hardback with slipcase; 'The Sculpture of Robert Adams', Alastair Grieve, The Henry Moore Foundation, 1992, hardback 4to.Condition Report: Contents generally good and bright, occasional marks, dust-jackets/wrappers have some discolouration and wear.
Lot 86
TURNER J. M. W.: (1775-1851) English Painter. An extremely rare, early ink signature, William Turner, on a slim 8vo page removed from the Attendance Book of the Plaister Academy at the Royal Academy, London, n.d. (30th October 1790?). The fifteen year old Turner's bold signature appears toward the centre of the page, and above and below his signature appear those of thirteen other fellow students, with a further eighteen signatures to the verso. Included are the signatures of artists Henry Thomas, Thomas Hargreaves (2), Charles Brome, Thomas Kearsley, and Robert Clamp. Some minor age wear, with slight creasing and very slight traces of former mounting to the right edge of the recto, otherwise VG Joseph Mallord William Turner, known within his family as William, entered the Royal Academy Schools as a promising student at the age of 14. The young Turner first worked in the Plaister Academy, drawing from casts of antique sculpture. In the biography Turner In His Time (1987) Andrew Wilton notes that Turner's 'name appears fairly frequently in the registers between 21st July 1790 (the earliest record extant) and 8th October 1793. Provenance: Some of the Attendance Books now in the Library of the Royal Academy were once the property of the renowned British collector Charles Fairfax Murray (1849-1919) and bear his Ex-Libris to the inside boards. Upon the dispersal of his large collections, the Registers, with a number of pages removed, were apparently re-acquired by the Royal Academy. The present, previously missing page, were re-discovered in Australia, tipped into an old Victorian album.
Lot 76
Charles Robinson Sykes - 'Silence and Speed' radiator or desk-piece mascot c1909, believed to be an important and exceedingly rare design for a motor car radiator adornment, the original of which was commissioned from Charles Sykes by John (Walter) 2nd Baron Montague for his 1909 Rolls-Royce Ghost motor car, created in heavy silver-plated bronze by the cire-perdue casting process, and display mounted upon an ebonised wood plinth base. History: It has been understood and long-believed that the original of this statuette was commissioned by John Montague specifically for his personal Rolls-Royce motorcar, at a time when there was no definitive mascot for the Marque but when after market radiator embellishments were proliferating due to an increasing current trend for such adornments. It is a further popular conception that the model for this sculpture design was Eleanor Velasco Thornton, who during this time was secretary to John Montagu and with whom was having a clandestine romantic involvement as his mistress. Thus created, this was the draped female figure in flowing robes with forefinger to her lips emblematic of this liaison. Approximately two years later it is presumed that she was again the model chosen by Charles Sykes for his subject, who posed for the ultimate design selected by Rolls-Royce now known universally as the 'Winged Lady' mascot, which bears much similarity in essence to its earlier counterpart, and is now renowned and recognised world wide. Provenance: Over many years it has been understood that perhaps four or five original examples of 'The Whisper' mascot (as it had become known outside the Montagu circle) were in existence; accompanying this lot is a comprehensive file of documentation and historical provenance, which it is hoped clarifies the origins of the design, numbers made, and their subsequent ownership. It includes published articles, photographs (including one showing all then-known originals together), letters and correspondence from leading authoritative authors and owners including the Late Lord Edward Montagu, Jo Sykes the daughter of Charles Sykes, Dr Douglas Latto, the late Peter Baines of the RREC, Paul Tritton, Mrs Scheerman, and Tony Gosnell inter alia; and further includes correspondence between the vendor and many of these leading experts, including that relating to his purchase of the mascot from Dr Latto. There is also an invoice/receipt from Aspreys the Crown Jewellers for 'cleaning and polishing a silver-plated mascot' (the aforementioned) and manufacturing a replacement plinth base replacement for the original which was damaged dated 1994.
Lot 427
Grand Tour photographs, circa 1900, A bound album containing a vast selection of very fine 10x8in. views from Rome, Vatican City, Pompeii, Naples, Apteros and Athens, unattributed, in leather-boarded album with marbled liners; and a red leather bound album titled Roma, filled with photographic studies of landmarks, sculpture and art. (2 items)
Lot 542
A pair of Burmantofts Faience pottery busts by Victoriano Codina Langolin (1844-1911), dated 1870 modelled as Bacchanalian couple with fruiting vine crowns, glazed green, impressed Burmantofts Faience to male bust, signed and dated female bust, minor chips 28cm. high, (2) Catalogue Notes The male figure was produced as a bronze sculpture titled The Laughing Bacchus in 1870 and later produced by Burmantofts.
Lot 332
German School, 17th century, Portrait of a merchant holding an ornate ivory staff, oil on canvas, 76 x 64cmThe Staff shown is possibly a carved ivory figure, its style suggests a date from the mid 17th century. The staff is likely to be Netherlandsih and seems to be related stylistically to cutlery handles of that date. It is quite possible that the merchant in the poirtrait was a master culter or even a skilled ivory carver who decided to be depicted with a staff showing one of his fine carved handles. The staff head seems to depict a woman surrounded by foliage, it may well be allegorical. With thanks to Dr Majorie Trusted FSA, senior curator of sculpture the Victoria and Albert Museum
Lot 17
After: Claude Michel Clodion, French (1738-1814) "Bacchanalia" Bronze Sculpture. Early to mid 20th century. Depicts a dancing satyr with young nymphs. Numbered 2854 on obverse side. Wear to patina and rubbing, possible old professional restoration to one arm. Measures 30" H x 14" W. Shipping: Third party. (estimate $1000-$1500)
Lot 36
Marcel Debut, French (1865-1933) "Guerrier Reposant sur L'épée" Bronze Sculpture. Signed on obverse side, inscribed "per prix de Rome" under the signature. Old professional restoration to top finial, wear to patina, rubbing. Measures 29-1/2" H x 11-1/4" W x 14" Depth. Shipping: Third party. (estimate $600-$800)
Lot 43
After: Frederic Remington, American (1861-1909) "Bronco Buster" Bronze Sculpture. Signed in cast, inscribed "RCS 308/775 on base, inverted triangle mark on obverse side of the horse. Some wear to patina, rubbing. Measures 22-1/2" H x 18-1/2" W x 6-7/8" Depth. Shipping: Third party. (estimate $400-$600)
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