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Lot 34
William Turnbull (British, 1922-2012)Key Torso stamped with monogram, numbered and dated '2/9/81' (at the back)bronze with a light brown patina on a stone base42.3 cm. (16 5/8 in.) (excluding base)Conceived in 1981Footnotes:ProvenanceWith Waddington Galleries, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureAmanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, p.154, cat.no.207 (ill.b&w, another cast)During the mid-1950s William Turnbull created a sculptural group of semi-abstract female figures of considerable size, knows as his Idol series. He returned to the theme, using new titles, again in the late 1970s and early 1980s. Amanda A. Davidson comments on them:'As artworks rather than as equipment they create an experience of pieces of sculpture as physical and potentially practical objects. They achieve this through their overt reference to tools. They go beyond the earlier Idols by creating new versions of archetypal figures from unusual sources.' (Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation, Much Hadham, 2005, p.62)One of these 'practical objects' was the key. With Key Torso the sculptor has taken an everyday object and transformed it into a human presence. Its curved outline with deep notches either side, whilst reinforcing the work's genesis, also serves to describe the contours of a female figure; the incisions being the narrow waist and wide hips. The subtlest of protuberances denote the figure's breasts, and throughout, the surface is covered with his trademark dots, shallow circular motifs which Davidson refers to as 'designs' and the sculptor himself as 'signs'. They are on the fringes of the sculpture at regular intervals, but also run vertically down its centre, from the head to its base, as well as cutting across horizontally and diagonally in the lower section to suggest the pubic area. Regarding this aspect of his work, Davidson comments:'The marks often come from the personal vocabulary of symbols that Turnbull has been exploring throughout his career. There are no predetermined public meanings and there is no secret code for the initiated. Some of the marks can be interpreted as indicating faces, hair, limbs and genitals but there can be many interpretations of these marks and the viewer is free to come to their own readings.' (Op. cit. p.65)Key Torso was made at a time when Turnbull had begun to be more adventurous and experimental with different-coloured patinas. It can be no coincidence given the object of the title, which is traditionally made out of brass or nickel-brass, that he has chosen a similar colour to these alloys, in addition to smoothing the surface right down so as to appear metallic.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 72
A Group Of Accessories Mostly Relating To Antique FirearmsMostly 19th CenturyComprising a circular brass percussion cap dispenser stamped 'Sykes', and with split-ring for suspension; two T-shaped nipple-keys, one with threaded brass caps for spare nipples (pricker missing); two nipple-keys and a striker-key each with wooden handle, the former each with threaded pricker; a brass bullet mould for casting explosive heads, stamped 'Greenfield London' over '.500', hinged sprue-cutter, and swelling wooden handle, retaining its hollow-point tool en suite; a large brass bullet mould stamped '438' and with hinged sprue-cutter; another, similar; three revolver moulds, one for casting four spherical bullets and with blued sprue-cutter stamped 'No. 90', the other two of Colt type and each for casting spherical and conical bullets; a steel bullet former; six steel bullet moulds for casting bullets of varying sizes and with integral sprue-cutter; two combination tools for Enfield percussion service longarms; three wad- or patch-cutters; a brass cartridge-extracting tool; and other items including various ramrods, tins of percussion caps, a leather bag of 'Eley's Metal-Lined Anticorrosive Percussion Caps and two turned bone striker boxes; together with an Indian hunting knife, the bright blade stamped 'ARNACHELLUM SALEM' on one side, and steel-mounted hilt with natural staghorn grip, in its original wooden scabbard covered in chequered brown leather with steel retaining clip (a lot )The last 24.6 cm. blade For further information on this lot please visit Bonhams.com
Lot 71
A Group Of Accessories Relating To Antique And Vintage Firearms Mostly 19th CenturyComprising a James Dixon & Sons powder-flask for percussion sporting guns, with fluted bag-shaped copper body embossed with lines of graduated beadwork and stamped with registered design mark for 16 April 1858 (worn, cut-off spring corroded); a Sykes patent powder-flask for percussion sporting guns with planished bag-shaped body (some wear and corrosion); a brass-mounted pistol flask; a modern three-way powder-flask with leather-covered body; a leather shot-belt with G. & J.W. Hawksley white-metal nozzle; five various turnscrews; two nipple-keys, one with threaded pricker; four powder-measures, one with swelling mottled cowhorn handle; a chamber brush; two J. & G.W. 12-bore cartridge-extracting tools of white-metal; and various other items including a Balkan cartridge box, of brass with hinged lid and cast decoration (a lot )For further information on this lot please visit Bonhams.com
Lot 74
A GROUP OF ACCESSORIES RELATING TO ANTIQUE AND VINTAGE FIREARMSMostly 19th CenturyComprising a brass powder-tester with graduated wheel acting against an external spring, and with later swelling wooden handle; five T-shaped combination tools for percussion guns, each with threaded brass caps (two in pitted condition); another of hammer form, with turned baluster head, forked peen, and stem of tapering octagonal section; a 12-bore cartridge-extracting tool incorporating a whistle, carriage key and turnscrew; two turnscrews and two cleaning tools, each with swelling wooden handle; two pairs of foliate scroll engraved hammers for pin-fire guns; two for percussion sporting guns (one pitted); a bright steel oil bottle of octagonal section; a Spanish steel barrel band pierced and chiselled with symmetrical foliage; a steel side-plate embossed and chased as a pair of dragons; a steel bullet mould; mainspring clamp and threaded pistol barrel of octagonal section; a tin of Eley's percussion caps; the remains of a leather holster; a Gilbertson & Page Ltd. 'Gamekeeper's note book'; an undated Alexander Henry & Co. letter relating to harpoon guns; and a quantity of lead balls and flints (a lot)Footnotes:The flints offered with a handwritten note dated July 1948 giving details of 'Brandon gun-flints'For further information on this lot please visit Bonhams.com
![Harris (Moses). [The Aurelian: Or, Natural History of English Insects; namely, Moths and Butterflies]. L'Aurélien: ou histoir](https://cdn.globalauctionplatform.com/db4af7a9-7339-4127-83a8-ad8a00c5b912/aa2f523f-4bf7-4e1c-a984-adda00a21498/468x382.jpg)
Lot 36
Harris (Moses). [The Aurelian: Or, Natural History of English Insects; namely, Moths and Butterflies]. L'Aurélien: ou histoire naturelle des chenilles, chrysalides, phalènes et papillons anglois, London: J. Edwards, 1794. Folio (404 x 300 mm), 19th-century green half morocco, spine richly gilt in compartments with butterfly tools, marbled sides, all edges gilt, pp. 145 [5], text in English and French, hand-coloured engraved title-page (in French only, as issued), 45 hand-coloured engraved plates (including unnumbered diagrammatic plate), text and plates both watermarked J Whatman 1794, tissue-guards, spotting to endpapers, title-page slightly spotted and with ownership inscription abraded from top margin causing small hole, plate 35 with repair to top margin extending into plate number, short closed tear to fore margin of plate 37, light spots and marks to margins of a few other plates (qty: 1)Footnote: ESTC T163472; Lisney 234.Third edition, first issue, rare: ESTC traces two copies only world-wide, at Bristol Central Library and the John Rylands Library. Manchester. The text was 'entirely reset with slight alterations'; the plates were printed from the same blocks as the first edition of 1766, albeit with the minor alterations to numbers 38 and 39 introduced for Lisney's second edition, third issue.
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