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Lot 43
Garden Urn : After the Antique: A pair of rare and monumental Coade stone Medici and Borghese urns stamped Coade Lambeth, one indistinctly dated 1815, on Portland stone pedestals 259cm.; 102ins high Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade's Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar's Lane exhibition Gallery. The firm became Coade and Sealey from this date and following Sealey's death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade's manufactures resembling a fine-grained natural stone, have always been famed for their durability. The Medici and Borghese urns are illustrated in the 1784 Coade catalogue, Nos 81 & 82. (see engraving). The Borghese Urn was recorded in the garden of Carlo Muti in 1594 by Flaminio Vacca who added that it had been discovered along with the Silenus and Infant Bacchus on Muti's estate near present day Casino Massimo. In 1645 the urn had found its way into the Villa Borghese where it stayed until purchased by Napoleon in 1807. By 1811 it was on display in the Louvre where it remains today. From the mid 17th to the late 19th Century the Medici and Borghese urns or |vases| were the most admired of all the antique models and were often paired together. The Medici urn is first recorded in 1598 in the inventory of the Villa Medici, Rome although there is evidence that it was there at least thirty years earlier. In 1780 it was removed to Florence and soon entered the Uffizi where it remains today. It is believed that the original was executed in the second half of the first century A.D. Provenance: Newtown Park House, Dublin, Bought on 20th September 1976, at an auction held by Christie, Manson & Woods Ltd., and Hamilton and Hamilton and thence by descent. A photocopy of the catalogue title page and photographs of the urns are available to the purchaser. For further information on Newtown Park House, go to; http://www.newtownparkhouse.ie/about-us/history
Lot 81
â–² David Wynne born 1926 Lovers Norwegian rose marble Signed David Wynne and dated 1968 174cm.; 68½ins high by 104cm.; 41ins wide by132cm.; 52½ins deep David Wynne OBE, 1926-2014 was one of Britain's best loved sculptors of the 20th Century. Educated at Stowe School he then served in the Royal Navy during World War II and read Zoology at Trinity College, Cambridge, before taking up sculpture professionally in 1950. In London alone, Wynne was responsible for a huge number of important public commissions. He carved one of the capital's best-loved animal figures, Guy the Gorilla, in Crystal Palace Park (1961). He sculpted the iconic Boy with a Dolphin at the Chelsea end of Albert Bridge,(1974) and Girl with a Dolphin outside Tower Bridge.(1973). Elsewhere he sculpted the Tyne God fountain in Newcastle upon Tyne; (1968), Christ and Mary Magdalene at Ely Cathedral;(2000) and a Risen Christ for the front of Wells Cathedral, one of his most famous commissions.(1985) His portraits included the Queen and the Prince of Wales, (1970) Sir John Gielgud,(1962), Sir Yehudi Menuhin,(1963), Sir Thomas Beecham (who said the piece reminded him of all the mistakes his orchestra had made in the previous 10 years),(1956), the four Beatles(1964) and the Maharishi Mahesh Yogi (whom he introduced to the group), as well as the Derby-winning racehorse Shergar. In 1973 he designed the linked hands on the 50p pieces that marked Britain's entry into the European Community. Some of Wynne's most striking pieces were designed for garden settings. He created works for the Abbey Gardens at Tresco, including Gaia, a sculpture made from South African marble, which has a South African planting around it. The Prince of Wales was so taken by the figure he commissioned a similar piece, called Goddess of the Woods, for his gardens at Highgrove. Equally as versatile in bronze, stone or marble, this unique group of The Lovers, fits into the earlier part of his oeuvre. He made the first maquettes, I-IV for The Lovers in plaster and then bronze in 1964, before revisiting the idea in 1965 Maquette V and 1966 with maquettes VI and the VII which was cast in bronze in an edition of 6. The cover of T. Boase's definitive book David Wynne's Sculpture 1949-1967 shows the plaster Lovers maquette VII with this Norwegian rose marble group in an unfinished state in Wynne's studio. (see picture). Wynne always took particular care in his choice of materials. A commission in 1957 for the façade of the Taylor Woodrow headquarters in London resulted in a distinctive 100 ton block of granite being blasted from a Cornish quarry and being worked on in the rough in situ before being precariously transported to Wynne's studio in Wimbledon. Likewise, when Pepsi Cola gave him carte blanche for a large piece, he spent three weeks in the Rocky Mountains and came out with a plan for a grizzly bear fashioned from a 36-ton block of marble. The beautifully variegated colours of this Norwegian Rose marble act as the perfect counterpoint to the simplicity of line in the piece, whilst on a more simplistic level, the soft glowing pink of the marble demonstrates the colour of love. The group was finally finished in 1970 and shipped to its new home in Chicago, Illinois. Provenance: Christie's, New York, 11th July 2006, lot 219 Literature: David Wynne's Sculpture 1949-1967, T.S.R. Boase , Michael Joseph, 1968, front cover and page 147.
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