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Lot 131
BENNO SCHOTZ (1891-1984) BRONZE FIGURE, DATED 1925 bronze, signed and dated in the bronze `B. Schotz, 1925` Total height, 34.5cm Note: Benno Schotz emigrated to Glasgow from Estonia in 1912, and gained an engineering diploma from the Royal Technical College. From 1914-1923 he worked in the drawing office of John Brown and Company, a Clydebank shipbuilders, while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full time sculptor in 1923 and rose to became a full member of the Royal Scottish Academy, head of sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and eventually Sculptor in Ordinary for Scotland in 1963.
Lot 685
Dame Barbara Hepworth, British 1903-1975- "Small Sun" (BH489); polished bronze, conceived in 1969 and cast in an edition of nine plus the artist`s proof, this example numbered 1/9 on the base, height 33cm including base. Provenance: Purchased directly from the artist in 1974 Literature: Alan Bowness, ed., The Complete Sculpture of Barbara Hepworth 1960-69, London, 1971, no. 489. Barbara Hepworth: Drawings from a Sculptor`s Landscape, London, 1966 Note: Barbara Hepworth used bronze in the last twenty years of her life, preferring to use stone in her previous works. She began to re-interpret forms in bronze that had originally been carved finding that the new material gave new aspects to certain themes. During The Second World War Hepworth was evacuated to St. Ives, Cornwall where she took up permanent residence in 1950 and purchased her Trewyn studio where she remained for the rest of her life. She was greatly influenced by the natural beauty and elements of the Cornish landscape and transposed this organic inspiration into her work. Hepworth stated that `A sculptor`s landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite subtle meaning.` In `Small Sun` the literal translation of the sun as subject matter is obvious again taking inspiration from the forms presented by nature. Also present is awareness from Hepworth of the natural effects of the elements of the sun, such as the ever changing appearance of the landscape as the sun rises and sets creating different shadows on the land; so this effect is translated into the sculpture as the bronze surface changes hues within differing lights and times of day. Juxtaposition is created between the curved nature of the bronze form and the tort tension provided by the crossing strings over the front of the sculpture. The contrast is further highlighted by the polished nature of the bronze and the natural appearance of the string adhering to the organic nature of material that was fundamentally important to Hepworth throughout her career.
Lot 1067
A pair of bronze figures, early 19th century, modelled as a male and a female in 18th century dress, each approx 12cm high; also a bronze model of Cupid, early 19th century, possibly Italian, mounted on a yellow marble oval base; a naive bronze sculpture of a crouching naked woman, approx 8cm high and a Continental bronze pictorial panel, 19th century, depicting monks feeding birds, approx 20cm x 17cm. (5)
Lot 318
AWAKENING. A FRENCH ART DECO BRONZE STATUETTE AFTER THE SCULPTURE BY PAUL PHILIPPE the nude young woman poised on tiptoe, her right arm outstretched, rubbed green patina, on onyx pyramidal base, 52cm h, c1925 Comparative Literature: Catley (Bryan), Art Deco and Other Figures, Woodbridge 1978, p250, upper right illustration. ++The right arm very slightly loose but in good entirely original condition, the onyx plinth original but chipped in several places including the lower edge of one side which possibly explains the apparent absence of an engraved signature
Lot 173
THE FOLLOWING LOT RELATES TO THE ARTISTIC CAREER OF ERIC WINTERS, FOUNDER MEMBER OF THE SOCIETY OF PORTRAIT SCULPTORS ERIC WINTERS (BRITISH 1921-1968) A RARE AND UNIQUE LIFE SIZE BRONZE PORTRAIT BUST OF TOTTENHAM HOTSPUR AND NORTHERN IRELAND INTERNATIONAL LEGEND DANNY BLANCHFLOWER signed and dated `Eric Winters, 1960` bronze on original marble base 17.3/4in. (41.5cm) high Exhibited: London, Royal Academy, 1962, No.1191 Eric Winters represented the fifth generation of sculptors in the Winters family, learning sculpture under the experienced eye of his father Leo Hill Winters, a carver and letter designer. He went on to study at St. Martins School of Art and in April 1939 at the age of 18 was awarded the only open scholarship to attend the Royal Academy Sculpture School where he was the youngest student Eric`s studies were interrupted during the war years, only being resumed from 1947-52 when the Academy re-opened. His achievements in his student days were most impressive and include four Landseer prizes for figurative sculpture (three in 1947 and one in 1950), representation of Great Britain and bronze medal in the XVIth Olympiad Sport in Art exhibition at the Victoria and Albert Museum (1948) and travelling scholarship to France: The Edward Stott Award for a group of figures (1949) Winters exhibited annually at the Royal Academy Summer Exhibition throughout the 1950s. Driven by his early success in portraiture and genuine passion for this branch of sculpture, Eric was already starting to pave the way for the formation of a new society even before completing his studies at the Royal Academy Schools. He had a close rapport with several of his professors including Sir Charles Wheeler, Maurice Lambert and Alfred Hardiman whose influence and support were significant at the time The newly formed Society of Portrait Sculptors presented its first annual exhibition from November 1952 to December 1953. Winters was a keen exhibitor at the Society`s exhibitions in London and elsewhere, contributing to many very fine portraits over the years, probably his most well known head is that of the footballer Danny Blanchflower modelled from life and exhibited at the Society`s 1960 annual exhibition
Lot 105
SIR WILLIAM `HAMO` THORNYCROFT (1850-1925) Artemis and Her Hound, dated 1909, a bronze cast from a model by Hamo Thornycroft of a scantily-clad huntress carrying a bow and drawing an arrow from her quiver, with greyhound at her side, on a naturalistic base, inscribed `Hamo Thornycroft Sc` to the top of the base, inscribed and dated `Hamo Thornycroft 1909` to the side of the base, initialled `HT` twice, and titled `ARTEMIS` to the front of the base, all on a green marbled rectangular base, the bronze 25" high, 13" wide, 6 3/4" deep. Note: Originally modelled in 1879, when Thornycroft was heavily influenced by the poet and literary critic Edmund Gosse, Artemis was one of the first examples of `The New Sculpture`, seeking to re-examine Classical sculpture for a new age. In 1880 Thornycroft showed a life-sized plaster of Artemis and Her Hound at the Paris Salon. Subsequently The Duke of Westminster commissioned a life size marble statue which was exhibited at the Salon in 1882 before being installed at Eaton Hall in Cheshire. Artemis and Her Hound was well received by the critics, and one noted that `a great advance was proclaimed...by the epoch-making "Artemis"...The attitude and arrangement are altogether admirable, as well as original...from every point of view the group is beautiful`. A half-size bronze version of Artemis was exhibited by Thornycroft at the Royal Academy in 1911 [1799] and another bronze statuette at the Royal Scottish Academy in 1917-18. Literature: S. Beattie, The New Sculpture, New Haven: Yale University Press, 1983, p. 149 E. Manning, Marble & Bronze, The Art & Life of Hamo Thornycroft, London: Trefoil Books Ltd., 1982 M. H. Spielmann, British Scupture and Sculptors of To-day, London, 1901, p.39
Lot 308
A monumental Khmer bronze figure of Avalokiteshvara, Angkor period, Bayon style, c.1300, cast with eight radiating arms, the hair, neck, upper arms, ankles and toes with small figures of the Buddha, with seated figures of what appear to be Prajnaparamita (The Goddess of Transcendent Wisdom) on the chest, holding various attributes, the hair in a raised chignon bearing a seated figure of Amitabha, 49.5cm. Provenance: a private Scottish collection. A metallographic analysis conducted by Frank Preusser and Associates Inc., Los Angeles is available. This figure of Avalokiteshvara, the Boddhisatva of Compassion, is a bronze version of one of the twenty three stone images of King Jayavarman VII sent to different parts of the kingdom in 1191 in memory of his father. Two other bronze radiating figures of similar size are known, an incomplete example in the Musee Guimet, and another in the Walters Art Gallery, Baltimore, see cat. no. 97 in Angkor et dix siecles d`art Khmer, and cat. no. 28 in H W Woodward The Sacred Sculpture of Thailand: The Alexander B Griswold Collection.
Lot 167
Emiel Hartman (20th century), Falcon on a glove, bronze sculpture, signed Emiel H to base, mounted on a square black marble plinth, 88cm (34.32in). Emiel Hartman was born in South Africa, but studied at the Slade School of Art in London and served in the Royal Navy during the First World War. He was a fellow of the Royal Society of British Sculptors and held solo exhibitions at the Grosvenor Gallery, The BH Corner Gallery, and took part in group exhibitions at the Redfern Gallery, Alwyn Gallery, the Royal Academy and elsewhere.
Lot 12
A bronze commemorative sculpture `Broadgate 1990`, by Nathan David, limited edition 6/9, the plinth base with applied plaque `Broadgate 1990 / presented by Construction News`, 32cm high. Provenance: British Rail Board (Residuary) Ltd. Note: The Broadgate complex of offices was built on a derelict 29-acre British Rail site close to Liverpool Street station in east London.
Lot 274
A patinated bronze group of the infants Romulus and Remus being suckled by the she-wolf, early 20th century, on a rectangular base, 15.5cm long The Capitoline Wolf (Latin: Lupa Capitolina) is a bronze sculpture of a she-wolf suckling twin infants, inspired by the legend of the founding of Rome. According to the legend, when Numitor, father of the twins Romulus and Remus, was overthrown by his brother Amulius, the usurper ordered the twins to be cast into the Tiber River. They were rescued by a she-wolf who cared for them until a herdsman, Faustulus, found and raised them. The Capitoline Wolf has been housed since 1471 in the Museo Nuovo in the Palazzo dei Conservatori, Rome, Italy.
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