57
*OSCAR NEMON (1906-1985) 'Married Love'
In 200 Years
1/5
Description
*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington.
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*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington.
200 Years
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Glossary of Cataloguing Terms
The auctioneers are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. Please bear in mind however, that condition reports are subjective and we earnestly request potential purchaser to inspect personally any lot on which they intend to bid. Descriptions of property in this catalogue do not always indicate condition, repair or damage.
Use of inverted commas around a word, or phrase indicates that the piece, or object, may not be what it is purporting to be, or may be an old-fashioned term of art no longer in use. If you are in doubt, our specialists are available prior to the auction to offer guidance and advice. With Chinese ceramics and works of art, if the catalogue states that an object in question bears a mark, but does not state ‘and of the period’, it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again, buyers are advised to inspect personally any items on which they intend to bid to ensure the colour meets with their expectation.
Weights and measurements are all approximate and should be verified by intending purchasers.
Care is taken to ensure that any statements as to authorship, attribution, origin, date, provenance is reliable and accurate, but such statements are statements of opinion and not to be taken as statements or representations of fact. Duke’s reserve the right, in forming their opinion, to consult and rely upon any expert, or authority, reasonably considered by them to be reliable.
The term basically used in conjunction with a date (ie. basically 18th century) indicated that, in our opinion, the item may .have undergone restoration, repair, or alternation. It also indicates that only an element of the piece may date from the period stated in the description. The absence of the term basically does not imply that an item is without restoration, repair, or alternation.
Paintings, Drawings and Prints
A work catalogued with the forenames(s) and surname of recognised designation of an artist is, in our opinion, a work by the artist, e.g. NICHOLAS CHEVALIER
Attributed to NICHOLAS CHEVALIER
. . . in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.
Studio of NICHOLAS CHEVALIER
. . . in our opinion a work by an unknown hand, which may have been executed in the studio of the artist.
Circle of NICHOLAS CHEVALIER
. . . in our opinion a work from the period of the artist and showing his influence.
Follower of NICHOLAS CHEVALIER
. . . in our opinion a work executed in the style of the artist but not necessarily by a pupil.
Manner of NICHOLAS CHEVALIER
. . . in our opinion a work of the artist but of a later date.
After NICHOLAS CHEVALIER
. . . in our opinion a copy of any date after a work by the artist.
Signed/inscribed/date NICHOLAS CHEVALIER
. . . in our opinion the work has been signed/inscribed/dated by the artist.
Bears signature/inscription/date NICHOLAS CHEVALIER
. . . in our opinion the signature/inscription/date are probably not by the hand of the artist.
The addition of a question mark after any of the catalogue terms in the above gloassary indicates an element of doubt.
The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style.
A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Dutch school, circa 1700.
All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.
The use of inverted comas around the name of an artist, or date, in connection with a signature, or inscription (ie. Signed "Nicholas Chevalier") indicates that the signature, or inscription, may have been added by another hand.
Artist's Resale Right
From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work.
Coloured Gem Stones
Prospective buyers of coloured gemstones should be aware that some stones might have been treated to enhance their colour or clarity. Sapphires and rubies are commonly heat-treated and emeralds are commonly oiled. In the case of oiling, this may need to be redone after a period of years. The international jewellery trade has generally accepted these methods.
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Duke's carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.
1. Definitions
In these Conditions:
a. "auctioneer" means the firm of Duke's or its authorised auctioneer, as appropriate;
b. "deliberate forgery" means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of sale has a value materially less than it would have had if it had been in accordance with the description;
c. "hammer price" means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;
d. "terms of consignment" means the stipulated terms and rates of commission on which Duke's accepts instruction from the sellers or their agents;
e. "total amount due" means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;
f. "sale proceeds" means the net amount due to the seller, being the hammer price of the lot sold less commission at the started rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
g. "you", "your", etc. refer to the buyer as identified in Condition 2.
h. The singular includes the plural and vice versa as appropriate
2. Bidding Procedures And The Buyer
a. Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;
b. the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer's absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising the discretion.
c. Bidders shall be deemed to act as principles
d. Once made, no bid may be withdrawn
e. Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
3. Increments
Bidding increments shall be at the auctioneer's sole discretion.
4. The Purchase Price
The buyer shall pay the hammer price together with a premium thereon of 25% plus VAT on the premium at the rate imposed by law.
5. Value Added Tax
Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is chargeable at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. *VAT payable at 5.00% on the hammer price and 20% on the buyers premium.
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1. Immediately a Lot is sold you will:
a. give to us, if requested, proof of identity, and
b. pay to us the total amount due in cash or in such other wats as is agreed by us.
2. Any Payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any direction of you or your agent, whether express or implied.
7. Title And Collection Of Purchases
0. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.
1. You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.
2. No purchase can be claimed or removed until it has been paid for.
8. Remedies For Non-Payment Or Failure To Collect Purchased
0. If any Lot is not paid for in full and taken away in accordance with the Conditions or if there is any other breach of the Condition, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
a. to proceed against you for damages for breach of contract;
b. to rescind the sale of that Lot and/or any other Lots sold by us to you;
c. to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;
d. to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere;
e. to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;
f. to retain that or any other Lot sold to you until you have to total amount due;
g. to reject or ignore bid from you or your agent at future auctions or to impose condition before any such bids shall be accepted;
h. to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.
1. We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions
9. Third Party Liability
All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability fir death or personal injury (exept as required by law by reason of our negligence) or similarly for the safety of the property or persons visiting prior to or at a sale.
10. Commission Bids
Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty Of Title And Availability
The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
12. Agency
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
13. Terms Of Sale
The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time on the entry of the Lot.
14. Descriptions And Condition
0. Whist we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by is as to authorship, genuineness origin date, age, provenance, condition honesty and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 "information to buyers".
1. Private treaty sales made under these Condition are deemed to be sales by the auction for purposes of consumer legislation.
15. Forgeries
Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer's premium provided that
0. if the catalogue reflected the accepted view of scholars and experts as at the date of sale or
1. you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.
The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.
16. General
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
0. any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.
1. Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.
2. Any notice to any buyer, seller, bidder or viewer may be given by first class main or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.
3. Special terms may be used in catalogue descriptions of particular classes of items in which case the description must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.
4. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be constructed as having full force and effect.
5. English law applies to the interpretation of these Conditions.
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2. confirm that you are authorised to provide these credit card details to Duke’s Auctioneers through www.the-saleroom.com and agree that Duke’s Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.
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IMPORTANT: The deposit will be subject to variables in exchange rates and bank charges that the buyers bank might levy. Duke’s will not be liable for these charges.
Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 4.95% commission charge + VAT at the rate imposed on the hammer price. Clicking the bid button is a commitment to buy.
