Novohispanic School. Guatemala. 17th - 18th century."Virgin Mary" and "Mary Magdalena"Pair of carved, gilded, stewed and polychrome cedar wooden sculptures.Virgin measurements: 36 x 20,5 x 20,5 cm. Mary Magdalene measurements: 35,5 x 18 x 22 cm.These images serve as splendid examples of the refinement of sculpture in Guatemala in the 18th century. Fully covered in gold, with estofado technique and "picado de lustre" - a patterned effect achieved using small chisels or burins. It is painted with various colours by brush. The sclptures are adorned with flowers, palm leaves, and small delicate geometric motifs. The mastery of the carving is evident in the multitude of folds in their elaborate garments, the emotion and sadness conveyed by the faces, and the beautiful strands of Mary Magdalene's hair.These images are comparable in quality to two sculptures that are part of the collection of the LACMA Museum in Los Angeles: the Archangel Saint Michael (collection number M.2021.1a-b) with significant similarities in the rich and fine polychrome, and the Virgin of the Rosary, polychromed by the artist Felipe de Estrada.It is important to highlight that in the society of that era, both in New Spain and in Europe, there was an enormous demand for this type of figure. Writings from the time reflect the society's desire to possess these excellent images. As indicated by Professor Ilona Katzew (Curator and Head of the Latin American Art Department at LACMA in Los Angeles), "in a letter to a fellow priest in Guatemala, the Franciscan commissioner in New Spain, Manuel de Nájara, thanked him for obtaining some images, emphasizing that the fame of Guatemalan carvings was widely recognized throughout the viceroyalty."Reference Bibliography:- Katzew, Ilona. "Archive of the World. Art and imagination in Spanish America, 1500 - 1800." Los Angeles County Museum of Art.
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Viceregal School. Peru. 17th - 18th century.‘Lord of Earthquakes’.Oil on canvas. Relined.114 x 82 cm.As we read in the Colonial Museum of Bogota's record ‘El Señor de los temblores (Lord of Earthquakes) of Cuzco Cathedral, the statue, according to various legends, was donated by Charles V or Philip II to the city of Cuzco, viceroyalty of Peru, to support the processes of evangelisation of the Inca population. The sculpture, dating from the mid-16th century, replaced another Christ known as the Good Death around 1560. Initially, the sculpture kept the name of its predecessor until 1650, when it began to be known as the Lord of the Tremors. The change was due to the fact that in that year there was an earthquake of great intensity in the city of Cuzco. In order to calm it down, the citizens processed with the statue, which, according to the story, calmed the effects of the quake. After the miracle, the image of the Lord of the Earthquakes spread widely throughout Latin America.The image, thus inspired by the carving from Cuzco, has several peculiarities, the most visible of which is that it portrays a ‘black’ Christ, a characteristic made possible by the scarce and simple polychromy, especially in the skin tones. The choice of materials is based on the flora of the Andean region, as it is made from agave and other plant fibres typical of the area. Such compositional characteristics allow us to think that it is possible that the image is of indigenous origin, which highlights its value as a testimony to the cultural crossbreeding brought about by the historical colonial processes, while at the same time leading us to question the legend surrounding this carving. This image of Christ has had a strong process of local appropriation by the indigenous communities of Cuzco, so much so that it is known as Taitacha Temblores, Taitacha being a Quechua word for saints or divinities. This linguistic particularity would point to the relationship that exists between an indigenous community, community devotional practices and cultural appropriation.The Monastery of Santa Catalina in Arequipa, Peru, also has a Señor de los Temblores with a donor, very similar to this one.
Maggi Hambling CBE (b.1945) Oil on panel “August Sunrise” (North Sea painting), inscribed, signed and dated 66 verso, labelled verso, with David Messum Gallery receipt dated 2007, 8cm x 21cm From the collection of the late Maurice Costley Maggi Hambling is a British artist, both a painter and sculptor who was born in Suffolk. She went to the Camberwell School of Art and then the Slade. Her body of work includes many portraits but her love of the Suffolk Coast leads her back time and time again to themes of the sea, waves and scallops, saying that water is the metaphor for life. Also know for her portrayal of friends and family after death, Maggi Hambling has always been a controversial figure, particularly with regard to her public sculpture. She received the Jerwood prize in 1995 and her work appears in many public collections including the Tate, National Gallery and the Victoria and Albert Museum. Condition ReportAll appears in good condition. Some wear to one corner of the frame please see additional photo
ART/LITERATURE- SIGNED: 1- Kay Williams: Just - Richmal The Life and Work of Richmal Crompton Lamburn, limited edition numbered 19/100 copies and signed by Kay Williams, Roy Williams, Michael Palin and Derek Taylor pub. Genesis Publications Limited, 1986, Original leather backed boards & slipcase. Fine; 2- HUGHES, Frieda (SIGNED): Sylvia Plath: Her Drawings. The Mayor Gallery, Exhibition Catalogue. 2011, 1st. Edn. Limited to 1000 copies, this INSCRIBED, SIGNED & DATED BY FRIEDA HUGHES. FINE; 3- BARKER, Clive (SIGNED): PORTRAITS Exhibition of Drawings and Sculpture. 1987, 1st. INSCRIBED & SIGNED. FINE; 4- Crossroads (13 Nov-11 Dec 2015), 1st. INSCRIBED & SIGNED TWICE. FINE; 5- Dan van der Vat & Michele Whitby: Eel Pie Island. 1st. Edn. Dw. SIGNED BY Michael Whitby. Fine (5)
ARTS- SIGNED: 1- Baron, Wendy (SIGNED): SICKERT. Paintings and Drawings. 2006, 1st. Edn. Dw. SIGNED BY BARON. FINE; 2- Anthony EYTON (SIGNED): Jenny Pery: Anthony Eyton, a life in painting. Dw. SIGNED BY EYTON. FINE; 3- Andrew Lambirth (SIGNED): The Dove in the toolbox, 2006. Limited edn. #79 of 50, Signed by author. Fine; 4- Grayson PERRY: (SIGNED): Guerrilla tactics. Rotterdam, 2002, 1st. SIGNED, with his motif. VG+; 5- WEIGHT, Carel (SIGNED): A Haunted Imagination. By R.V. Weight. 1994, 1st. Edn. Dw. IINSCRIBED, SIGNED & DATED BY CAREL WEIGHT. FINE; 6- ROSENTHAL, T. G: (SIGNED): L.S. Lowry: The Art and the Artist. 2010, 1st. Edn. Dw. SIGNED & DATED. FINE; 7- Philip JACKSON (SIGNED): Sculpture since 1987. 2002, 1st. Edn. Dw. IINSCRIBED & SIGNED; 8- Shepherd, David (SIGNED): My painting life. 1995, 1st. Edn. Dw. INSCRIBED & SIGNED. Fine; 9- Shepherd, David (SIGNED): An artist in Africa. 1986 repr. Dw. PLUS: Chettle House: A weekend with David Shepherd. SIGNED BY SHEPHERD; 10- Hamilton, Richard (SIGNED): Prints 1939 - 83. SIGNED. Original wrapper. FINE; 11- Philip D. Hawkins (SIGNED): Tracks on Canvas: The Railway Paintings. 1998, 1st. Edn. Dw. INSCRIBED & SIGNED. FINE; 12- Gilbert & George (SIGNED): New Normal Pictures, by Michael Bracewell. 2021, 1st. Edn. INSCRIBED & SIGNED BY BOTH. VG+; 13- Grayson PERRY (SIGNED): Unpopular Culture. 1st. Edn. Fine; 14- Davies, Peter (SIGNED): Arthur Ballard: Liverpool Artist and Teacher; 15- John W Mills (SIGNED): Sculptor & Printmaker. 1994. Card cover- Inscribed & SIGNED; 16- Hambling, Maggi: The Works: And Conversations with Andrew Lambirth. 1st. Edn. Dw. Fine; & Shepherd, David: An Artist in Conservation. Repr. DW. Fine. (17)
*DAME ELISABETH FRINK (1930-1993) 'Bull', 1986, signed and numbered 35/100 in pencil to the margin, etching with aquatint in grey, printed at Kelpra Studio and with their blindstamp, on Velin Arches paper, 29.8cm x 27.4cm (sheet), Framed dimensions: 37.5cm x 36cmpublished by Harpvale Books as the frontispiece for the 1984 deluxe edition of 'Elisabeth Frink: Sculpture', a copy of which is included in this lot, signed to the frontispiece and further inscribed "Brian and Dorothy, with love from Alex and Lis" to the flyleaf, both in the hand of the artist (2), Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024)Literature: 'Elisabeth Frink, Original Prints, Catalogue Raisonne', Caroline Wiseman, 1998, number 136
A QUANTITY OF BOOKS AND EPHEMERA RELATING TO DAME ELISABETH FRINK, including a copy of 'The Odes of Horace' translated by James Michie and illustrated by Frink, signed by the artist to the frontispage and with a dedication "With love to Dorothy & Brian from Lis & Alex, Dec '87" to the flyleaf, together with the catalogue raisonné of drawing by Edward Lucie-Smith (two copies) and the catalogue raisonné of sculpture by Annette Ratuszniak, and a quantity of other volumes and promotional material, all relating to Frink, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).
EDOUARD VUILLARD (1868-1940) ‘Les Deux Venus et le Guys’ (The two Venuses and the Constantin Guys Watercolour), 1919, the mantlepiece of the rue de Calais, Paris, with items including a small antique marble torso, a plaster cast of the Venus de Milo and a watercolour of a woman by Constantin Guys, the overmantel mirror reflecting back towards the viewer, showing a small sculpture by Aristide Maillol, originally denoted to be 'Leda', but more closely resembling 'Méditerranée',signed lower left, distemper on paper laid on canvas, 46cm x 51cmFramed dimensions: 72cm x 84cmProvenance: Purchased from the artist by Galerie Bernheim-Jeune, Paris (stock no. 21713. Les Deux Venus et le Guys). 11th October 1919, for 1,500 francs, Matthew Justice, Thomas Justice & Sons. London, 5 Feb. 1920 (as part of a lot)Robertson & Bruce, LondonThe Lefevre Galleries, London, 1944The collection of Captain William Bankier Henderson (1903-1993), purchased in 1945Private collection, WiltshireExhibited: The Lefevre Galleries, London, 1945Literature: 'Vuillard - The Inexhaustible Glance' Critical Catalogue of paintings and pastels, Antoine Salomon and Guy Cogeval with Mathias Chivo, publ. Wildenstein Institute and Skira, 2003, volume III, page 1259, number X-173 (illustrated)
AFTER CARL KAUBA (1865-1922) A LARGE AUSTRIAN COLD-PAINTED BRONZE FIGURE OF A NATIVE AMERICAN CHIEF, indistinct impressed marks to the reverse, carrying a tomahawk in one hand and a shield the other, on a naturalistic stone base, 48cm high overall, Provenance: The Les Watts Collection.Note: Carl Kauba was born in Austria in August, 1865. He studied at the Academy of Fine Arts in Vienna. His cold-painted bronzes depicting Native Americans are highly sought after, even though it is very much debated that he ever visited America. The sculpture is believed to depict the Native American War Chief 'Rain in the Face' of the Hunkpapa band of Lakota Sioux. He played an important part in the Battle of Little Big Horn, which saw the defeat of General Custer and his 7th Cavalry, and as such he was a popular figure subject to numerous studies. The American poet Henry Wadsworth Longfellow wrote a poem about him entitled "The Revenge of Rain in the Face".
§ Gertrude Hermes OBE, RA (1901-1983) Welcome to the Avocetssigned and dated 'Gertrude Hermes 1948.' (lower right); artist's prooflithograph38.5cm diameterExhibited:London, Gertrude Hermes: Wood Engravings, Colour Prints, Drawings, and Sculpture 1924-1970, 12 January-11 February, 1993, cat. no.44Not examined out of the frame, outermost margins are obscured by the mount and are, therefore, not available for inspection. The paper support has an overall undulating appearance which should be corrected by reframing. There is some very negligible foxing noted in the lower margin. There is some possible fading to the palest values in the print, otherwise appears in nice condition overall.
§ Ursula Edgcumbe (1900-1985) Study for The Finding of Mosespencil and ink37.5 x 24.5cmProvenance:The collection of Quentin StevensonThe present work is a sketch used for the completion of a sculptural relief carved from Hopton Wood stone and currently held in a private collection. The Finding of Moses was Edgcumbe's first sculpture.
§ Arthur Dooley (1929-1994), three bronze 'Workers Control of Fisher Bendix Kirkby Jan 72' fish, each moulded 'A.D. / 72' to the bodies 6.5cm wide Acquired by the vendor's husband, who was working at Conran's Design Group in Deansgate, central Manchester, at the time of the strikes. According to the vendor, he too too had come from a working class background and was thus keen to support their cause and purchased these during a working tour of the city in 1972, the year he and the vendor were married. Born on January 17, 1929, Arthur Dooley is remembered as a significant sculptor whose work was deeply intertwined with his political beliefs and advocacy for social justice. His life journey from a merchant seaman and welder to a celebrated artist is as compelling as his sculptures, which often depicted the struggles and resilience of the working class. Dooley's early life was marked by diverse and challenging experiences. Leaving school at the age of 14, he took on various jobs, including working as a merchant seaman and later as a welder at Cammell Laird shipyards in Birkenhead. These early jobs, particularly in heavy industry, had a profound influence on his artistic vision. It was during his time as a welder that Dooley began attending night classes in sculpture, which set him on the path to becoming an artist. His talent blossomed further when he enrolled at St Martin's School of Art in London, where his raw, expressive style began to take shape.Dooley's sculptures are noted for their powerful emotional impact and often feature religious and social themes. Working primarily with bronze and steel, materials that mirrored his industrial roots, he created pieces that were both robust and deeply evocative. Central to his art was a strong sense of social justice and solidarity with the working class. This commitment to social issues was not just thematic but also active, as seen in his involvement with the 1972 Fisher Bendix worker strikes in Kirkby, near his native Liverpool.The Fisher Bendix factory strikes were a pivotal moment in Dooley's life and career. Faced with job losses and poor working conditions, the workers went on strike and eventually occupied the factory in a desperate bid to save their jobs. Dooley's support for the workers went beyond mere sympathy; he actively participated in their cause, using his art and public presence to amplify their struggles. In solidarity with the workers, Dooley produced the present works as tokens to be sold at the factory gates, with the proceeds being donated to the striking workers. This involvement underscored his belief in art as a tool for social change and his deep connection to the working-class community. All three in good condition.
Simon Hepworth Nicholson (1934-1990), February, 1964, a cork relief sculpture, signed to the reverse58 x 49.5 x 15cmExhibited:St Ives, The Tate Gallery, 13 February - 14 April, 1985, cat. no.149New York, The John Guggenheim Memorial Foundation (details untraced)In good condition, a few paint splashes to case.
A LOUIS XVI MARBLE AND ORMOLU MANTEL CLOCK BY JEAN SANGUINEDE (PARIS, LATE 18TH CENTURY) the two train movement with outside count wheel, silk 'tic tac' escarpment and striking on a bell, the 14cm enamel dial signed 'Sanguinede Paris' and 'Coteau', with Roman numerals at the hour marker, Arabic numerals at the quarter hours and Arabic numerals for the date dial, with gilt chased and pierced hands, the drum case is surmounted by an eagle cresting and flanked by two Sèvres style soft past figures after Louis-Simon Boizot's (1743-1809) “L’Étude”, the male 'Philosopher' and the female 'Learning', a panel beneath in bas relief depicting a sacrifice to Cupid in the manner of Claude Michel, called Clodion (1738-1814), the Carrera marble base inset with a central pierced ormolu frieze of opposing sphinx and two further classical masks, on turned and leaf cast bun feet, 54cm high x 60cm wide x 20cm deepProvenance: The Digby family.Jean Sanguinede is recorded in Watchmakers & Clockmakers of the world by G. H. Baille. It is noted he was active in Paris between 1777 and 1789. The dial is also signed by Joseph Coteau (1740-1801), one of the most important émailleurs of this period, who executed enamelled dials and decorative plaques for clocks of significance. The mounted figures are after those by Louis-Simon Boizot, sculpteur du roi, who became Director of Sculpture at Sèvres in 1773 until his death in 1809. He is renowned for producing some of the firm's most important recorded works whilst working against a backdrop of turmoil and upheaval. A similar clock of the same period also mounted with Sèvres soft paste figures resides in the Royal Collection, formerly at Carlton House in the Prince of Wales's Dressing Room, RCIN 30118.
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) RALPH VAUGHAN WILLIAMS, O.M. Bronze with green patina Signed (verso) Height (excluding base): 39cm (15¼in.)Conceived in 1949.Provenance: From a Private Collection Literature: Jacob Epstein, An Autobography, London, 1955, p.234, illus. Richard Buckle, Jacob Epstein Sculptor, London, 1963, pp. 334-5, pls. 519-20 (dates 1950) Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 205, no. 416Ralph Vaughan Williams was a composer. He commissioned Epstein to produce his sculpture at the beginning of February 1949. Condition Report: Light surface dirt throughout. Some areas of green tarnishing as a result of oxidisation scattered throughout the surface. Condition Report Disclaimer
λ PAUL MOUNT (BRITISH 1922-2009) MORTAL COIL Bronze Signed (on the base) 23 x 37.5cm (9 x 14¾ in.) "The way two shapes relate is as important as the way two people relate" - Paul Mount Condition Report: Some surface handling marks, nicks, scratches and blemishes. Some surface abrasions where the two parts of the sculpture have rubbed against each other. The work would benefit from a light sensitive clean.Condition Report Disclaimer
λ PIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) COUNTERPOISE Onyx marble dust suspended in resin and stainless steel Diameter: 204cm (80¼in.) Executed in 1996 in an edition of 8. Provenance: Direct from the artist's studio collection Angela has always been fascinated by the effects of nature on both the natural landscapes and man-made objects. The present work is made up of six segments which lie horizontally beside one another fixed by a central axis. The work is intended to be installed in the middle of nature and viewed from afar as the wind and elements play with the sculpture causing a meditative rippling motion giving an endlessly varying pattern of movement. 'As a child I was always observing nature, wind and water and seeing how movement from these natural forces could be involved with many shapes.' Angela Conner Condition Report: Please contact the department on pictures@dreweatts.com for a video of the sculpture installed and in motion. Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) SECOND PORTRAIT OF KATHLEEN Bronze with green patina Signed to sitter's left shoulder Height: 39cm (15¼in.) Conceived in 1922. Provenance: Sale, Sotheby's, London, 9 July 1969, lot 105 Agnew's Gallery, London From a Private Collection Literature: Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 113, pl. 176 Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 151, no. 130 Condition Report: Some minor surface dirt and verdigris to the crevasses of the hair. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) JOAN GREENWOOD (CHILD) Bronze with a gold patina Height (excluding base): 36cm (14in.) Conceived in 1930.Provenance: From a Private Collection Literature: Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931, p. 190 (dates 1931) L. B. Powell, Jacob Epstein, London, 1932, ill. (dates 1930) Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 238, no. 161 Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 172, pl. 260 (dates 1930) Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 168, no. 203Joan Greenwood was a childhood friend of Peggy Jean, the first daughter of Sir Jacob Epstein. Condition Report: Very light surface dirt. With chips, marks and losses to the black base. Otherwise the bronze is in good original condition. Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) OLD SMITH Bronze with a black patina Height: 37cm (14½in.)Conceived in 1922.Provenance: From a Private Collection Literature: Arnold L. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, London, 1931,p. 180 Jacob Epstein, Let There Be Sculpture, London, 1940, p. 112 Robert Black, The Art of Jacob Epstein, New York and Cleveland, 1942, p. 234, no. 97 Jacob Epstein, Epstein: An Autobiography, London, 1955, p. 93 Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 113, pl. 179 Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 151, no. 129
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) EPSTEIN'S LEFT HAND (SCULPTOR'S HAND) Bronze with a dark brown patina 20 x 14.5cm (7¾ x 5½ in.) (excluding base) Probably cast after 1959. Provenance: From a Private Collection Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 227, no. 526
λ NIC FIDDIAN GREEN (BRITISH B. 1963) HORSE HEAD Lead Height (including base): 185cm (72¾ in.) Executed circa 2004.Provenance: Collection of the late John Lippitt, Hampshire (acquired directly from the artist's studio)Fiddian-Green began working in lead as early as the 1980s when he was at art college. The sculptures are created by first modelling the work and casting it in resin before hammering over lead sheets to create the final shape. The sheets are then joined by handmade rivets. The technique means that each sculpture is unique. Condition Report: The tall plinth has a number of holes and areas of corrosion with staining commensurate with installation outdoors. The base would need reinforcing and repairing as it is no longer completely stable due to corrosion. The head is stable, condition commensurate with age and being stored outdoors. The work is in need of a clean. Condition Report Disclaimer
λ SIR JACOB EPSTEIN (BRITISH 1880-1959) RISEN CHRIST (HANDS ONLY) Bronze with a dark brown patina 43 x 39cm (16¾ x 15¼ in.) (including base) Conceived 1917-1919. Provenance: Sale, Sotheby's, London, 9 July 1969, lot 101 Agnew's Gallery, London From a Private Collection Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, relating to no. 97 The other version of this work is held in Walsall, Garman-Ryan Collection.The present lot was part of a study intended for a large scale sculpture measuring 218cm tall depicting the sick Bernard van Dieren during 1917. Artists Jacob Kramer and Cecil Gray, the musician posed for the unfinished sections when Epstein returned to the work in 1918/1919. Condition Report: The black base may benefit from a clean and there is evidence of surface scratches most notable around the base of the largest hand. There is a light overall layer of surface dirt that is most notable in the crevasses of the work. Overall in good original condition. Condition Report Disclaimer
Philip Hearsey (b.1946) Acanto VIII, monogrammed to base, bronze with cherrywood base, abstract sculpture, 53 x 28 x 4.5 cmCondition:The sculpture is in good overall condition, no obvious evidence for any damage, chips or losses. The surface is smooth and well preserved, colours are bright. It stands well on its base and is secure. The base is in good condition.
Green (Valentine) The History and Antiquities of the City and Suburbs of Worcester, London: for the author by W. Bulmer, 1796, 2 volumes, rebacked gilt tooled diced red calf, later title and volume labels, armorial bookplate for Joseph Jones, marbled endpapers and edges, portrait frontispiece, vignette title, 14 plates to volume 1, fold out map to volume 2, vignette frontispiece and 9 plates to volume 1; together with Wild (Charles) An Illustration of the Architecture and Sculpture of the Cathedral Church of Worcester, London: by the author, 1823, large folio, large paper edition, original boards with pasted paper label to front board, twelve engraved plates (3)A Gloucestershire book collectorGreen: later rebacked retaining original boards with spine replaced and new title labels, first few pages of volumes 2 disbound, fold tear to fold out map, scattered foxing throughout, pastedowns with browned edges, boards rubbed and corners bumped.Wild: boards worn with loss and dampstains, text clean with plates foxed
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62523 item(s)/page