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Lot 286
A Gyula Meszes-Toth bronze medallion circa 1991 titled ‘the horrible acts of Stalinism: 1952 (to the memory of my younger brother)’, the relief design depicting a prison cell and a man in gallows and a shadow of Stalin to the background, 11.5cm. This medal was exhibited at the British Museum in 1999, the exhibition entitled ‘Size Immeterial Handheld Sculpture of the 1990’s.
Lot 115
An Italian bronze model of the Augustus ‘Prima Porta’, late 19th century, cast after the Antique, on a cylindrical marmo levanto and marmo nero Belgio plinth, 65cm high overall The original of this model dates to the 1st century B.C. It was discovered at Prima Porta near Rome and is now held in the Vatican Collection. It is thought to have been the first use in sculpture of the adlocutio stance, whereby the subject is given the bearing of influence and power by the use of a raised arm, suggestive of an address.
Lot 2926
Maggi Hambling, 1945- , Abstract bronze sculpture with thunder bolts, signed in ink MH '93, 12.5" high PROVENANCE: Thetis Blacker. Saleroom notice; Artist's Resale Rights Regulations 2006 may apply to this lot. Please note that by bidding in this sale you agree that if you are the successful bidder for a lot covered by these regulations you will pay an amount equal to the resale royalty, and this amount will be added to your invoice (in addition to Buyers Premium) at a maximum rate of 4% of the hammer price for lots sold for a price in excess of the equivalent of 1,000 Euros. We undertake to the buyer to pay such amount to the artist's collection agent.
Lot 354
Arman, bronze with gold patina, sculptured dissected Violin in perspex box Signed edition 134/ 150 ( Edition number partly obscured by mount) foundry mark A .Valsuani perdue, Armand Pierre Fernandez, (born in France1928 died 2005), is one of the most important international object artists and a co-founder and member of the Nouveau Réalisme. He studied at the Ecole Nationale des Arts Décoratifs in Nice from 1946 to 1949 and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organising joint happenings and events, which the two artists realised in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coupés' (cut-up objects) followed by the 'Colères' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name was accidentally forgotten on a catalogue cover in 1958, he decided to adopt this spelling of his name. In 1957, Arman became interested in common objects as works of art. First he did what came to be called his "allures d"objet" (object impressions) where he w uld dip an object into paint and press it on canvas; thereby leaving the object's shadow or impression. Then he figured the object itself was worth paying attention to and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "feed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. He also makes objects useless by accumulating them (2,000 wrist watches in a plexiglass box are fun to watch but not very functional unless you like to "pick your time") The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. He taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called 'Long Term Parking'. From the mid-1960s Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967–8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces suppl ed by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982–3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour Awards: Officier de la Légion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Provenance; Purchased from Windsor and Eton Fine Arts Co. Ltd. 12/12/1979 and now consigned by the purchaser h: 28.50 x w: 17.50 x d: 6 in.
Lot 212
Dame Elisabeth Frink, Childhood, 1992. Cast bronze figure of a seated terrier, Ht. 11½in. (29 cm.). With the artist’s incised signature ‘Frink’ and the foundry stamp of Morris Singer. Note: the dimensions given in the catalogue are incorrect (as is the conversion from Imperial to Metric). The history of this sculpture is a little complex and still contains one or two unanswered questions. It was sculpted by Elisabeth Frink in aid of the Hospital for Sick Children, Great Ormond Street, London, in 1992. It was intended to be cast in an edition of 50 with 6 additional artist’s proofs, the main edition being cast by the Morris Singer Foundry and the six proofs by the independent foundry of Ken Cook in Gloucestershire, who cast many of Frink’s smaller pieces. However, it seems that only about 30 of the commercial edition were actually cast (the exact number does not appear to have been firmly established) as well as the full complement of artist’s proofs. There also appears to have been some inconsistency over the numbering of the edition. Excluding the artist’s proofs, only some of the thirty or so casts from the main edition seem to have been numbered and those that were tend to bear numbers at the higher end of the intended sequence, i.e. in the 30s and 40s. The majority of casts from the early part of the sequence do not bear numbers. Because the initial marketing of this edition had not been well handled (only about six casts were sold in the period 1992-5), in 1996, Great Ormond Street commissioned the Stockbridge Gallery of Courcoux and Courcoux, who had had previous connections with Frink, to take over the marketing of the edition; the hospital also authorised them to have 13 pieces cast at the Singer Foundry which, also on their instructions, were numbered 38-50 inclusive (although exactly why this particular sequence was chosen is not clear). This part of the edition, as well as the six Cook cast artist’s proofs, were all sold by the Gallery in the following years. The present lot is one of the earlier, unnumbered, casts in the sequence. Literature: an example of this edition appears in the second volume of the Elisabeth Frink Catalogue Raisonné by Edward Lucie-Smith, Elisabeth Frink Sculpture and Drawings from 1984, no. SC73. Note that both the title of the piece (‘Dog’) and the dimensions are incorrect in the relevant entry of this work. Please note that the estimate printed in the catalogue is incorrect; it should read
Lot 2
Antiques - Atterbury, Paul & Batkin, Maureen The dictionary of Minton. London, 1990. First edition, 4to, original cloth gilt, dustwrapper; Horswell, Jane Bronze sculpture of "Les Animaliers". Suffolk, 1971, 4to, original cloth, dustwrapper, some chippng to edges; Langham, Marion Belleek, Irish porcelain. London, 1993, 4to, original cloth, dustwrapper; Godden, G. Encyclopaedia of British porcelain manufacturers. London, 1988, 8vo, original cloth, dustwrapper, a fine copy; Faraday, C.B. European and American carpets and rugs. London, 1990, 4to, original cloth, dustwrapper; Andrews, John British antique furniture. Suffolk, 1989, 4to, original cloth, dustwrapper; Levitt, J.L. The world of antique toys. London, 1990, 4to, number 3227 of 5000 copies, a mint copy in slipcase with original packaging; Keats, V. Chessmen for collectors. London, 1985, 4to, original cloth dustwrapper; and 22 other antique reference works (30)
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