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Lot 11
Garden Sculpture:Circle of Jan Pieter van Bauerscheit: A carved gritstone group of Chronos “Clipping the Wings of Youth" Low Countries, early 18th century on later carved stone pedestal the group 140cm.; 55ins high by 110cm.; 43ins wide; overall 254cm.; 100ins high by 147cm.; 58ins wide Jan Pieter van Bauerscheit the Elder, born Wormersdorf in 1669, architect and sculptor, lived and worked in Antwerp where he was buried in the church of Saint Waudru in 1728. In 1691 he is recorded as a pupil of Peter Scheemaeckers the Elder and in 1694-5 registered in the guild of Saint Luke as a Master. Baurscheit was appointed assistant director of the Antwerp Mint (1709), sculptor to the King (1714-1715) and sculptor to the Emperor (1717). He established one of the leading workshops in Antwerp which was continued after his death by his son Jan Pieter Van Bauerscheit the Younger (1699-1768). Many of van Baurscheit's works, often carved in hard gritstone were of mythological subjects heavy with symbolism and often with a didactic or moral meaning. In this instance, the loss of youth is personified by Chronos, the father of time, clipping the wings of the youthful Cupid, as a Memento Mori |remember (that you have) to die|. Typical of the Dutch Calvinism of the time, groups such as this would be seen as a means of perfecting the character, by cultivating detachment and other virtues, and turning the attention towards the immortality of the soul and the afterlife.They were particularly popular in the Netherlands, where they decorated the town houses and country seats of its wealthy merchant population. Similar gritstone mythological groups may be seen in the Rijksmuseum, Amsterdam
Lot 20
Garden Sculpture:A rare Bromsgrove Guild composition stone statue of Pan early 20th century 232cm.; 91½ins high The Bromsgrove Guild of Applied Arts was established in 1894 by Walter Gilbert who took over a foundry in Bromsgrove, Worcestershire. It was first involved with decorative ironwork, but the business soon expanded into a great many other fields. By 1900 Gilbert had gone into partnership with a Mr McCandlish and had taken over further premises in the town which housed bronze and lead foundries, as well as wood and stone carving studios. By 1908 they had established an outlet in London, and as a result of their most famous commission, the iron and bronze gates outside Buckingham Palace, they were issued with a Royal Warrant appointing them metal workers to Edward VII (an honour repeated two years later under George V). Unlike the majority of other contemporary English manufacturers of garden ornaments most of the Guild~s figurative subjects were modelled in the popular styles of the day. In 1921 the Guild became a limited company, but by this date some of the members had left to start companies of their own. However the Guild continued to produce a variety of garden ornaments for many years finally closing in 1966. As well as making garden ornament in lead, the company also produced a range of ornament in composition stone. This figure of Pan appears in their 1908 Catalogue of garden ornament as No 1 and was one of their most popular models. Literature: John Davis, Antique Garden Ornament, pp.313-316.
Lot 40
Garden Sculpture:Ernst Eisenmeyer Abstract figure Sheet copper Unique 1963 370cm.; 146ins high Born in 1920, Ernst Eisenmayer was the eldest son of Austro-Hungarian Jewish parents. He tried to escape Vienna after the Anschluss; the annexation of Austria by Hitler in March 1938. As Eisenmayer recounts in A Strange Haircut - an autobiographical account about leaving Austria written in 2008 - on his second attempt he was caught on the French border, transported to Saarbrücken prison and from there to Dachau Concentration Camp. Through his younger brother Paul, who arrived in Britain by Kindertransport in 1939, his brother~s guardian Professor J. L. Brierley acted as Eisenmayer~s sponsor securing him his trainee post and hence his release from Dachau. As such he was possibly one of the last prisoners to have been released from Dachau prior to the war. Following his arrival in England he was subsequently imprisoned in five different British Internment camps, including Onchan on the Isle of Man, where he produced sculpture for exhibitions and wrote for the camp newspaper. His drawing |Violinist at Onchan| was later published as a motif of a postage stamp of the Isle of Man. He later worked as a toolmaker and from 1944 he exhibited for the first time in an exhibition on Austrian art in exile before studying from 1946-47 at the Camberwell College of Arts. His paintings and graphic work of the 1940s and 1950s explore the cityscapes and inhabitants of war-time and post-war London; at which time he became friendly with Oskar Kokoschka (1886-1980) and his friendship with Victor Pasmore (1908-1998) who he first met at Camberwell School of Arts and Crafts. In 1962 Eisenmayer turned to sculpture with a series of carved serpentine and stone heads which were first shown at the Mercury Gallery in 1963. Developed from his earlier representations of the brutal features of a camp guard in Dachau and working in hard, textured stone, the heads explore themes of the conqueror and the hostage. Eisenmayer~s welded, carved and cast sculptures of the 1960s and 1970s, produced during the continuing climate of the Cold War, investigate the potentialities for individual and group personages to withstand the pressure of external forces and to act as markers of resistance, particularly in an uncertain age of nuclear capability. In this sense Eisenmayer~s works act as witness to some of the most tragic events of the twentieth-century, alongside capturing the excitement of post-war reconstruction, and overlooked aspects of modernity. This figure dates to this period and was constructed by Eisenmayer himself at Elizabeth Frink~s studio in Chelsea in 1963, then installed in the grounds of the house ~Long Wall~ belonging to and designed by the well-known architect Leslie Gooday, where it has remained until the present day. In the 1970s Eisenmayer was commissioned to undertake a number of large public sculptures including The Family Group for the Nottingham Carlton Forum and the complex steel and bronze sculpture for the British Pavilion at Expo~ 70 in Osaka, Japan. Eisenmayer~s work has recently undergone a revival of interest. Some of his works were exhibited in 2009 at the London Jewish Museum of Art as part of the exhibition |Forced Journeys, Artists in Exile in Britain 1933-45|. This was followed by a major retrospective exhibition of his work |Art beyond Exile| at the Sayle Gallery, Douglas, Isle of Man, followed by The Austrian Cultural Forum, London, both in 2012. Recipient of the Medal of Honour from the City of Vienna in recognition of his artistic work, Ernst Eisenmayer has exhibited in the UK, Austria, France, Italy, Israel, Japan, Slovenia, and the USA. He currently resides in Vienna. Photo captions; Eisenmayer constructing the figure at Elizabeth Frink~s studio in 1963~~ taken from the catalogue ~About the Dignity of Man~ - Ernst Eisenmayer - Life and Work - exhibition at the Jewish Museum in Vienna 2002. Eisenmayer maintained a long friendship with the architect Leslie Gooday. This shows him standing beside the sculpture in the garden of ~Long Wall~ in 1997, over 30 years after he had made it.
Lot 41
Garden Sculpture:Maida Crowe A carved Forest of Dean stone figure 203cm.; 80ins high Maida Crowe was born in Axminster, Devon in 1915. After a private education, she studied at the City and Guilds of London Art School from 1957-1962. She became a member of the Free Painters and Sculpture movement working in both wood and stone. Established in 1952, FPS was originally associated with the ICA (Institute of Contemporary Arts). Founding members featured many high profile and influential artists, including Roy Rasmussen, Lyall Watson and Maurice Jadot. FPS played a significant part in the establishment of abstract art in the 1950~s and 60~s and was the first of a number of post war movements that freed artists from the orthodoxy of rigid and purely technical judgements. In 1981 there was an exhibition of sculpture by Maida Crowe in Southwark Cathedral. Roy Rasmussen in the preface to the History of Free Painters and Sculptors commented; |Her wood carvings were at home in any modern collection, and graced many FPS exhibitions. But the deeper implication of her sculptures was religious, and for her it was appropriate that they should be shown in the place where she worshipped. She worked mainly on a scale of two to six feet. Her sculptures were not overtly religious, she did not use obvious religious symbols. A woman who was comfortable and tolerant in the company of diverse opinions, she could reveal a sparkling humour.| |She was passionately involved in the endless debate over forms of modern expression. She described her own work as an inward search.| She showed at the RBA as well as in the provinces and had solo exhibitions at the Cockpit and Loggia galleries. A copy of Maida Crowe~s book of her work; First and Last: A Search for Meaning, A Spiritual Journey Through Sculpture in 1994 is included in this lot which gives a full account of the carving of this statue and the placing of it in her garden.
Lot 544
Garden Sculpture:Martyn Barratt Tower Blue Kiln formed glass Unique Signed 186cm.; 73ins high by 35cm.; 13¾ins wide by 35cm.; 13¾ins deep Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. Much of his work is contemporary in concept and content, and his practice owes much to the skills he learnt in his early trades as a carver and restorer. He works in a number of mediums, including studio glass, wood and marble. His work has been exhibited internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997.
Lot 13
TRH The Prince and Princess of Wales - signed 1990 Christmas card sent to their bodyguard 'Allan and Caroline with love from us all Diana and Charles', with twin gilt embossed Royal ciphers to cover and a colour relaxed photograph of The Royal Couple with their children resting on a stone garden bench
Lot 540
Sapphire and diamond three stone ring with an oval mixed cut cornflower blue sapphire flanked by two old cut diamonds in claw setting on white metal shank. Ring size P CONDITION REPORT Sapphire - measures approximately 13.5mm x 9.5mm x 6.95mm. The stone has a fairly even distribution of colour and exhibits signs of asterism. It has not been tested for any signs of treatment. Minor chips to table facets and girdle, fissure and inclusions visible with a loop. Diamonds estimated to weigh 0.25 carats each and both have inclusions visible to the naked eye
Lot 541
Diamond three stone ring with three old cut diamonds in claw setting on platinum shank. Estimated total diamond weight approximately 1 carat. Ring size L CONDITION REPORT Good condition commensurate with age. Claws are worn - some very worn and no longer there. Diamonds very bright lively stones. One has an eye visible inclusion. Middle stone has inclusions visible only when viewed with a loupe and the last of the three stones is of good clarity
Lot 544
Late Victorian diamond five stone ring with five old cut diamonds in millegrain setting with carved gold setting, on gold (18ct) shank. Ring size M CONDITION REPORT Very good condition. The diamonds are well matched stones that appear to be all original to the ring. They are all old cut stones, fairly grey in colour with small inclusions visible with a loupe. Only one stone has an inclusion visible to the naked eye. The stones are slightly graduated in size. The centre stone measuring approximately 4mm diameter x 2.2mm deep. The two stones either side of the centre measure approximately 3.6mm diameter x 2.7 / 2.9mm deep. The two smallest stones measure approximately 3.6mm diameter x 2.4mm deep. Setting, pierced scroll gallery and shank all in very good condition. Total gross weight approximately 2.8 grams. Estimated total diamond carat weight approximately 0.80 carats
Lot 546
Art Deco diamond single stone ring with an old cut diamond estimated to weigh approximately 1.25 carats, in eight claw setting with channel set square cut diamonds to the shoulders. Ring size P CONDITION REPORT A very attractive ring. A very lively bright white stone with no obvious draw of colour. There is a chip or fissure to the edge of the stone which is partially hidden by the claw. Small indented natural chip / chip to the girdle. Setting in good condition with wear commensurate with age
Lot 547
Art Deco diamond single stone ring with an old cut diamond estimated to weigh approximately 1.30 carats, in eight claw setting with rose cut diamond bifurcated shoulders. Ring size O½ CONDITION REPORT Very good condition. Clarity is very good with no obvious inclusions when viewed with a loupe, one small indented natural / chip to the girdle. A lively stone but does draw colour and appears tinted. Shank and setting in very good condition. Circa 1930
Lot 559
Diamond three stone ring with three brilliant cut diamonds, the central stone estimated to weigh approximately 0.85 carats, flanked by further brilliant cut diamond estimated to weigh approximately 0.40 carats each, in claw setting on gold (18ct) shank. Estimated total diamond weight approximately 1.65 carats
Lot 572
Fine Victorian diamond cluster ring, the flower-head cluster with a central collet set old cut diamond surrounded by old cut diamonds to the petals, with further old cut diamonds to the floral shoulders, in silver setting on gold shank. Ring size J½ CONDITION REPORT Very good condition. Central diamond approximately 4mm diameter x 2.6mm deep. Small fissure which touches the surface of the facets on the pavilion and a small inclusion towards the centre of the stone, both of which are only just visible to the naked eye once located with a loupe. All stones are well matched and generally of good colour and clarity. Total diameter of cluster is approximately 12mm. Total gross weight 4.6 grams. The rest of the old cut diamonds measure approximately 1.5mm diameter. Open back setting
Lot 597
Opal and diamond cluster pendant with an oval cabochon opal measuring approximately 17.7mm x 13.0mm x 5.2mm, surrounded by a border of eighteen brilliant cut diamonds in gold claw setting on gold (9ct) chain CONDITION REPORT The opal in very good condition. Definitely NOT a doublet. Good play of colour displaying greens and blues. The stone has been glued into the setting quite crudely. Diamonds all white but all have lots of inclusions - relatively white inclusions
Lot 600
Victorian gold (18ct) garnet cluster ring with a marquise-shape cluster of garnets (Chester 1893). Ring size K½, Victorian gold (15ct) opal and garnet ring, gold (9ct) opal and garnet cluster ring and an Edwardian gold (9ct) garnet single stone ring (Birmingham 1901) (4) CONDITION REPORT Garnet cluster - very good condition. Very clear hallmarks. Shank and setting very good condition with very little signs of wear. Stones all appear original. Does not appear to have been sized / altered. Victorian opal and garnet ring - very good condition. Wear commensurate with age. Date letter obscured, possibly due to being sized (Birmingham 15ct). Garnet single stone ring - very good condition. Full set of clear hallmarks (Birmingham 1901). Oval cluster with opals surrounded by garnets - very good condition. Of no age. Birmingham hallmarks. Total gross weight of all rings is 10.2 grams
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