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Lot 218
dating: circa 1900 provenance: Russia, An in-the-round, bronze sculpture. Three imperial soldiers make their horses drink in the river. Men in their ordinance uniform, portrayed with a rifle and sabre, the central one smoking a pipe. The horses with their harness and some fur. The big pedestal, embossed as well, of elliptical shape, with rather high border, portraying the shore with some trunks and part of the stream; a Cyrillic signature in the front part and stamping (with Cyrillic characters as well), dated '1874'. Some small defect, a detached rifle and signs of time. The group depicted with good technique and fine proportions. Recasting from Lanceray. work. dimensions 114 x 72 x 64 cm.
Lot 295
Nick Bibby (b.1960), - Bronze sculpture - Rodrigues Giant Gecko No.3 from a limited edition of 10, from the Extinct Species Series, 46cm high. Artists Resale Right may apply. Provenance: The vendor was employed at Pangolin, the foundry that cast this piece Condition: **General condition consistent with age
Lot 710
GEOFFREY MAURICE DUDLEY (1918-1986). A contemporary / modernist cast and freeform bronze sculpture, foundry stamp FBB to underside,artist label to base signed and dated 1978Note: Geoffrey Dudley, designer and sculptor, was born at Wednesfield, Staffordshire, and studied at Wolverhampton School of Art. A travelling scholar and lecturer in sculpture, he was head of Department at Chelsea School of Art from 1974 to 1984
Lot 711
GEOFFREY MAURICE DUDLEY (1918-1986). A contemporary / modernist cast and freeform bronze sculpture fitted to a black perspex board, artist label to reverse, overall 53.5 x 48 cmNote: Geoffrey Dudley, designer and sculptor, was born at Wednesfield, Staffordshire, and studied at Wolverhampton School of Art. A travelling scholar and lecturer in sculpture, he was head of Department at Chelsea School of Art from 1974 to 1984
Lot 22
Larry Yazzie, American (20/21st century) Bronze Sculpture Mounted on Rotating Wooden Base, Two Plains Warriors Asking for Grandfather's Help, Signed and foundry mark lower, Dated 1987. Measures 19-1/2" H x 13" W (w/base). Condition: Rubbing, scratches to base Estimate: $400.00 - $600.00 Domestic Shipping: Third party
Lot 227
Grouping of Two (2) Native American Table Top Items. Includes: Bill Worrell (born 1936) Bronze shaman sculpture mounted on stone base, and ceremonial feathered stone sculpture inlaid with turquoise. Bronze sculpture is signed and numbered 15/150 on obverse side. Bronze measures 10" H x 5" W, sculpture measures 6-1/2" L. Condition: Rubbing otherwise good condition Estimate: $50.00 - $100.00 Domestic Shipping: $72.00
Lot 56
Erte, Russian/French (1892 - 1990) Bronze Sculpture "Lady Justice Circa 1984" Signed and Numbered 397/500 on Obverse Side. Foundry mark: Fine Art Acquisitions. Measures 20-1/4" H x 11-1/2" W x 8-1/4" D. Condition: Rubbing, professional restoration to scale Estimate: $3000.00 - $5000.00 Domestic Shipping: Third party
Lot 57
Erte, Russian/French (1892 - 1990) Bronze Sculpture "La Tosca Circa 1989" Signed and Numbered 83/600 on Obverse Side. Inscribed "La Tosca" on the base. Foundry mark: Seven Arts LTD., London. Measures 19-3/4" H x 7" W x 6-3/4" D. Condition: Good condition Estimate: $1500.00 - $2500.00 Domestic Shipping: Third party
Lot 57
Frederick Edward McWilliam, HRUA, RA 1909-1992STUDY FOR HOMER IIBronze, 91/2" (24cm), signed with initials, edition 3/3Provenance; Waddington Gallery, London 30 November 1961 where acquired by current owner.Literature: ''The Sculpture of F.E. McWilliam'', 2012, by Denise Ferran and Balerie Holman, Cat. No. 168, p123 By this point in his career, McWilliam was teaching sculpture at the Slade, and exhibiting all over the world, including London, New York and South America. This is a study for a large scale public sculpture, the year after his commission for Princess Macha at Altnagelvin Hospital, and demonstrates the artist's progression into large, freestanding, surface textured bronze works. The angular elongated legs of the figure preempts his exploration of legs in bronze, which occupied him in the late 1970s. The full size version of this sculpture is at Belfast City Hospital where it is affectionately known as 'The man with the broken arm'.
Lot 1
Architectural: A rare bronze door knocker in the form of a Cockatrice by Anton Dominik Fernkorn circa 1860 34cm high Anton Dominik Fernkorn (1813-1878) was born in Erfurt near Leipzig and studied sculpture under Johann Baptist Stiglmaier and Ludwig Michael Schwanthaler in Munich, from 1836 to 1840. His first sculptural project, “Saint George and the Dragon” for the courtyard of the Montenuovo palace, attracted attention, and the Austrian government appointed him director of the imperial bronze foundry at Vienna, in 1840, where he was part of the movement against the Neo-Classicism. He rediscovered Baroque sculpture and used it as the basis for his equestrian statue of Archduke Charles (1859), who had defeated Napoleon at the Battle of Aspern in 1809. This unusual bronze door knocker, baroque in style, is virtually identical in modelling to a large scale cockatrice made for the medieval Trsat castle in modern day Croatia. (see picture) This cockatrice, the so-called Dragon of Trsat, was a mythical creature cast in bronze that grew to become one of the best known symbols of the city. There are two, both commissioned by Austrian Field-Marshal and Count Laval Nugent who purchased the castle in the 19th century. A big history buff, Nugent, originally of Irish descent, was particularly keen on the legacy of the Frankopan, one of the leading noble families in Croatia from the 12th to the 17th century. As Trsat Castle used to belong to the Frankopan dynasty, Nugent was happy to acquire the edifice along with another similar estate, the Frankopan castle in Bosiljevo. The cockatrices, by Anton Dominik Fernkorn were installed in front of the central object on the castle grounds, guarding the gate to what is now Nugent’s mausoleum. For the Cathedral of Speyer, in 1858 he completed six of the eight free-stone statues of the German emperors buried there. He also made a statue of Prince Eugene of Savoy, but by unveiling in 1865 he was mentally ill and no longer able to work. He is well remembered for his portraits, and these include a bust of the Emperor Franz Joseph I of Austria and the funerary bust of Carl Ludwig Freiherr von Bruck in 1862. He was also a noted animalier, producing works such as the Lion of Aspern in Vienna. He died at the age of 65 in the hospital for mental patients in Saint Radengundu near Graz. Literature: Anton Dominik Fernkorn, Monument to Josipu Jelacicu, ISBN-86-7460-001-11 (a copy which is included with this lot) Published Zagreb, 1990.
Lot 13
Garden Statues: After the Antique: A bronze figure of the Medici Apollo last quarter 19th century on fragmentary marble base 152cm high Provenance: The Countess of Midleton, Eastwell Park Estate; Thence by descent The Medici Apollo or Apollino is a Roman copy of a Hellenistic sculpture of the adolescent god Apollo of the Apollo Lykeios type. It is now in the Uffizi, Florence. Found complete in Rome in the 17th century, though its exact early provenance is obscure, it was originally in the Borghese collection, until it was moved to the Medici collection at Villa Medici, where it was recorded in 1704. Unlike many ancient sculptures in the Medici collection, it was not moved to Florence by Cosimo III de’ Medici, remaining in Rome until it was removed to accompany the Medici Niobe Group in 1769-70. In 1840 at the Uffizi it was broken by a painting falling on it and was restored by Lorenzo Bartolini, who covered the whole statue with a layer of paint to disguise the repairs. Much admired, it was extensively copied from the 17th century onwards and like the Dancing faun such copies of Greco-Roman statuary were popular among contemporary wealthy art collectors who wanted their own versions of ancient art seen during their travels in Europe and Greece, on what was known as the “grand tour.”
Lot 40
Sculpture: ▲ Ronald Cameron Whistlejacket Bronze 4 of an edition of 9 64cm high by 75cm long Ronald Cameron (1930-2013) was a prolific sculptor whose work encompassed everything from making the puppets for Gerry Anderson’s Thunderbirds, Captain Scarlet and Joe 90, to larger scale works in bronze. He exhibited at the Alwin Gallery in Mayfair alongside works by Elizabeth Frink and Henry Moore. Whistlejacket was a famous racehorse, owned by the Marquess of Rockingham, immortalised in an oil painting of 1762, by the celebrated sporting artist, George Stubbs.
Lot 153
*Val Barry (1937-2018) a 'sentry' vase: each of narrow profile with notched margin under banded bronze glaze, impressed personal seals, 44 cm high.*Notes - the 'sentry' form was also later used by Val Barry in her civic bronze sculpture on a much larger scale and was exhibited at the Barbican Feeling Through Form Exhibition in 1986 and later that year in Canon Hall Country Park, Yorkshire
Lot 154
*Val Barry (1937-2018) two 'sentry' vases: each of narrow profile with notched margin and diagonal rims under banded bronze glaze, impressed personal seals, 38 and 39 cm high.*Notes - undoubtedly influenced both by her 'sentry' and 'sword' vessels, this form was later used by Val Barry in her civic bronze sculpture on a much larger scale where it was referred to as an 'Abstract Figure in Reverse Motion' and was exhibited at the Barbican Feeling Through Form Exhibition in 1986 and later that year in Canon Hall Country Park, Yorkshire
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)EASTRE (HYMN TO THE SUN) Bronze, inscribed with initials, dated 1991 and](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/70858d59-9553-4d9e-9341-aa4900fbd6b6/468x382.jpg)
Lot 103
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)EASTRE (HYMN TO THE SUN) Bronze, inscribed with initials, dated 1991 and numbered 5/1040cm (15.75in) highNote:Fergusson carved the original in plaster in 1927, but kept it under his bed for three years before he found someone who could pay for it to be cast. It is believed only one lifetime cast was made, which is held in the collection of Aberdeen Art Gallery.A posthumous edition of 6 was cast in 1971 and a second posthumous edition of 10 in 1991, celebrating the Fergusson Gallery project, which opened in 1992. This bust is from the 1991 casting. In Eastre we see Fergusson bringing together three important strains of early twentieth Century art: Paganism, Primitivism and Modernism.Eastre is the Saxon Goddess of Spring and of the rising sun. An enthusiasm for Paganism amongst artists and musicians such as Stravinsky had emerged in the early twentieth century. Fergusson was particularly fascinated by Celtic culture and the observance of harmony and unity in nature and the concept of the female form as a symbol of fecundity, renewal and rhythm. In the South of France during the 1920s, the natural environment and bright sunlight resonated with both Fergusson and his partner, the dancer Margaret Morris, who was herself also involved in a ballet performance entitled Hymn to the Sun. The full lips of Eastre and the repeating curves forming the chest, neck and head convey her organic nature.Together with the revival of Paganism came an interest in non-Western 'Primitive' art which was widespread from around 1907. Fergusson sketched Cambodian and Indian sculpture in the Trocadéro Museum in Paris. The strong features and bold stare of masks made a particularly powerful impression on artists of the time. Here the deeply sculpted eye sockets of Eastre recall African and Oceanic wood carvings. Two years prior to creating Eastre, Fergusson had embarked on a motoring trip around the highlands. His landscapes from this journey convey the Vorticist movement's love of speed, as well as elements of Cubism in the way that the landscape is broken up into segments. Here, hints of Vorticism and an Art Deco sensibility are found in the polished finish and the bold lines running along the cheek bones, chin and eyebrows which create a dynamic composition. The warm tone of the bronze is evocative of strong sunshine, and a sense of the luxurious. Eastre represents the perfect homage to both primal nature and a celebration of modern style and energy. It is arguably the most significant sculptural work by a Scottish artist of the 20th Century; its scarcity further enhancing its iconic status.
Lot 39
JOSEF MAŘATKA 1874 - 1937: SYMPHONY 1912 Bronze 68,5 cm Marked on plinth on back: "J. Mařatka" Symphony, in which Mařatka materializes his fundamental relationship to music, was created during the period when he was executing monumental sculptures for the Municipal House in Prague (in 1911–1913 he sculpted the larger-than-life statues Drama and Music). In spite of his evident musical talent, young Josef Mařatka decided to study at the School of Applied Arts in Prague under Professor Celda Klouček (1889-1892), moving on toJosef Václav Myslbek’s studio at Prague’s Academy of Fine Artsin 1896. In 1900 he received a scholarship from the Hlávka Foundation for his sculpture Ice Harvesters on the Moldau, and he used the funds to travel to what was then the world center of art – Paris. After a rough start and unable to speak French, he entered the studio of Auguste Rodin, slowly forging a close friendship with the sculptor. It was in fact largely due to Mařatka that a large Rodin exhibition was held in Prague in 1902, which went on to have a fundamental impact on the period’s young generation of artists.Variant II is in the collections of Prague City Gallery (inv. no.: P – 742, plaster, 1913 and inv. no.: P – 1189, bronze, 1913).
Lot 88
LADISLAV BENEŠ 1883 - 1956: SPEED, STRENGTH, RESISTANCE 1921 Bronze, marble 70 cm Marked on back: "L. BENEŠ" and debossed mark of Brothers Barták Prague. Inscriptions along sides of plinth: "RYCHLOST/ SÍLA/ ODPOR/ VÍTĚZI SOUTĚŽE SPOLEHLIVOSTI ČESKOSLOVENSKEM 1921 - MINISTERSTVO NÁRODNÍ OBRANY" ("Speed / Strength / Resistance / Winner o Sculptor Ladislav Beneš, together with Jan Štursa and Otakar Španiel, can unquestionably be included among the most important exponents of their generation, applying a new understanding of classicism to their work. Beneš composed the sculpture, which was commissioned by the Czechoslovak Ministry of National Defense, in the spirit of a new philosophy as an allegory of movement as represented by female nudes of Speed, Strength and Resistance. The modern era can also be sensed from the automobile, from which the towering sculpted figures are thrust forward.Ladislav Beneš, who studied under Professors Celda Klouèek and Stanislav Sucharda, was a member of the Mánes Union of Fine Artists in 1907–1934 and Umělecká Beseda from 1911. Although unfairly forgotten in his home country, his work has been exhibited in Cologne, Zagreb, Belgrade, Ljubljana, Munich and Vienna.
Lot 90
BŘETISLAV BENDA 1897 - 1983: THE MOTORCYCLIST 1928 Bronze 25 x 40 x 17 cm Marked on plinth: "B. BENDA" and "1/5" The Motorcyclist is an exceptional and prestigious work of Civilism, an art movement celebrating technical advances. Next to Stefan’s Bugatti and Švec’s Motorcyclist, this is another example from the poetry of civilian life in which the theme of sports and competitions takes center stage. The simple modelling of the motorcycle and the rider in the helmet is remarkable.After studying at the sculpture and stonemasonry school in Hoøice, Bøetislav Benda attended the Academy of Fine Arts and studied under Josef Václav Myslbek, continuing under Jan Štursa in 1919–1922 following an interruption in his studies due to the war. In 1923 he became a member of the Mánes Union of Fine Artists. Influenced by Otto Gutfruend, he gained experience in social art in the 1920s; otherwise his figurative sculptures, which mainly focus on the female body, are categorized as part of the Neoclassicism movement. He primarily worked with bronze and marble, often for public works. Towards the end of his life he collaborated with his son, Milan Benda (*1941).
Lot 25
‡Fredda Brilliant (Polish, 1903-1999)Dr Francis Warner, poet, author and Don of St Peter~s College, Oxford UniversitySignedBronze47cm high (2)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)Brilliant writes of her frustrations in achieving this sculpture and of having her artistic flow interrupted by his removal of a wisdom tooth! However she describes him as ~a sensitive poet. His poetry moves in harmonious colour with the lyrical and rhythmical stanzas~.
Lot 26
‡Fredda Brilliant (Polish, 1903-1999)The struggle for GoaSigned and dated 1955Bronze33cm high (2)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)This sculpture refers to the desire of the people of Bombay to ~liberate~ Goa from Portuguese rule and incorporate it with India. Brilliant was caught up in the unrest, had stones thrown at her in her car and had to flee when the crowds outside the town hall were fired upon by the government. Of this sculpture she stated ~the artist~s work is to express the environment he lives in as well as predict the future~.
Lot 38
‡Fredda Brilliant (Polish, 1903-1999)Ever Living - The ArmSigned and dated 195*Bronze93cm high (2)With a book: Fredda Brilliant, Biographies in Bronze (New York: Shapolsky Books, 1986)This sculpture is a powerful symbol of the holocaust with each of the six candles representing a million Jews killed in the gas chambers. The hand was inspired by Fredda seeing the hand of a child protruding from the rubble in Warsaw in 1946, the devastation of the city so great that the remains of victims still remained in the rubble.
Lot 78
λMichael Bergt (American, b. 1956) The Yes Man, 1991 Kinetic bronze sculpture Edition 2/9 52.5cm high, 25cm wide With an associated onyx plinth Michael Bergt works across various media, and is perhaps best known for his historically inspired egg tempera paintings, which channel the Italian Renaissance. One such work was selected to feature in the 2018 BP Portrait Award at the National Portrait Gallery. Bergt is however by no means a traditionalist, and his bronzes show a fascination with the human form and often push the body's boundaries. The present work shows the humorous and slightly surreal element that characterises the artist's oeuvre. Bergt is a fellow of America's National Sculpture Society, and his work is held by collections across the United States. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 457
An Art Deco style bronze sculpture of Leda and the Swan, with Leda as a reclining nude in 1920s flapper-style headband, mounted on black marble base, 36 x 59cm. CONDITION REPORT Some scuffs and marks to the casting, in need of a clean as covered in sticky residue, damaged to one corner of the black marble plinth.
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