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Lot 2421
William Robert Colton, RA, six bronze plaques, depicting the arrival of settlers to South Australia, the founding of the colony and two plaques showing George Fife Angas and the Hon John Howard Angas. William Robert Colton 1867 - 1921, studied in Paris and remained heavily influenced by French romantic sculpture. His work is featured in a number of museums. Other work includes the drinking fountain in Hyde Park and the Royal Artillery monument on The Mall. Colton was Royal Academy professor of sculpture, 1907 - 1912 provenance. One set of the plaques is inset in the Angas memorial, Adelaide, Australia. This set has remained with the Angas of Bancroft family
Lot 18
A French bronze model of a panther, early 20th century, cast after Georges Lucien Vacossin (1870-1942), stamped 'BRONZE VERITABLE' the veined marble rectangular base engraved 'G Vacossin', 27cm high, 75cm long overall. Vacossin was born in Granvilliers (Oise) and exhibited at the Salon between 1902 and 1937. A master of canine sculpture, some of his dog groups were used for Sevres models. Visit www.dnfa.com for condition reports.
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.
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