Fine Interiors (Including Books and Maps)

Total Page：16

File Type：pdf, Size：1020Kb

Fine Interiors (including Books and Maps) - Two Day Sale (A879) Tue, 10th Mar 2020 Viewing: 6 March 2020, 9am - 5pm 8 March 2020, 10am - 1pm 9 March 2020, 9am - 5pm 10 March 2020, from 9am 11 March 2020, from 9am Removal of Lots All lots should be removed by 5pm on Friday 20 March 2020. Furniture lots remaining after this date will be removed to: Perry Removals, Chapel End, Broxted, Essex CM6 2BW. Removal will be at a cost of £20 plus VAT per lot and storage will be charged at £2 plus VAT per lot, per day. Lot 33 Estimate: £6000 - £8000 + Fees Sir Edgar Bertram Mackennal KCVO RAA (1863-1931), Sir Edgar Bertram Mackennal KCVO RAA (1863-1931), 'Salome', bronze, base signed 'B Mackennal London' and inscribed with title, the base with two entwined snakes, 29cm high Born in Melbourne, Australia, Mackennal came to England in 1882. He studied in London and Paris, spending five years in the latter city and coming under the influence of French Symbolism and Romanticism. He spent the rest of his life working in London, though he frequently visited Australia and sculpted the portraits of many famous Australians of the early 20th century. He became a proponent of 'The New School of British Sculpture', exhibited at the Royal Academy from 1886, and was elected ARA in 1909 and RA in 1922. He was the first Australian artist to be knighted (1921). Apart from his heads and busts, Mackennal sculpted portrait reliefs and also the profiles of King George V used for coins, medals and postage stamps. His bronzes include a number of statuettes in the Symbolist manner, the most famous of which was Circe (honourable mention at the Salon of 1893) and ‘She sitteth on a Seat in the High Places of the City’. Examples of his work are in public collections: UK - Eton College, Royal Opera House, St Pauls Cathedral, Tate Gallery, London, Windsor Castle, Australia - University of Melbourne (Victoria) and the Art Gallery of New South Wales (Sydney). Condition Report The height is 29cm, weight is approximately 1.5kg. Please note the base is coated. It is from a private collection. Some surface wear, scratches and rubbing to patina in areas. Small dents and knocks. Some dirt, dust and oxidisation to base. Please see additional images..

Copy Link

Recommended publications

Art Gallery of Ballarat Annual Report 10-11 Annual Report
Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers
[Show full text]
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
[Show full text]
Olympic Memorabilia89
OLYMPIC MEMORABILIA89 MAIL BID AUCTION 89: APRIL 24, 2021 INGRID O’NEIL Lot 11 Third Place Winner’s Diploma Awarded for 50 Kilometer Skiing to M. J. Grothumsbraaten from Norway at the Chamonix 1924 First Winter Olympic Games Cover Illustrations Lot 1 Participation Medal struck in Gold for Stockholm 1912 President Viktor Balck – the Third Known Gold Medal for the Stockholm 1912 Olympic Games, the First Two Medals belonging to the Swedish King and the Crown Prince Lot 2 The Badge for the Emperor of Japan and the Imperial Family at the Tokyo 1964 Olympic Games Back Cover Illustration Lot 3 Original Painting “Atlanta 1996” by Famous Painter Michel Delacroix Commissioned by the IOC and the USOC for the Centennial Olympic Games in Atlanta 1996 OLYMPIC GAMES MEMORABILIA 1896–2020 Mail Bid Auction No. 89 Closing at 8 pm Pacific Time (Los Angeles) Saturday, April 24, 2021 The Auction will take place Online at auctions.ioneil.com www.ioneil.com Bids by Email, Phone, Mail and Fax are Welcome Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia P.O. Box 265 Tel: (949) 715-9808 Corona Del Mar, CA 92625 USA Fax: (949) 715-1871 Email: [email protected] ©2021 Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia INGRID O’NEIL AUCTIONS, INC. MAIL BID AUCTION 89 Tel: (949) 715-9808 Sports and Olympic Memorabilia Saturday, April 24, 2021 Fax: (949) 715-1871 P.O. Box 265 Online Auction www.ioneil.com Email: [email protected] Corona Del Mar, CA 92625 USA auctions.ioneil.com Bids by Email, Phone, Mail and Fax accepted TERMS OF SALE (Please read carefully before bidding.) The auction will be conducted in accordance with the terms set forth below.
[Show full text]
EAST AFRICA & UGANDA ======EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ======25 CENTS 18MM .800 FINE 2.916 GRAMS ======
Modern Dime Size Silver Coins of the World EAST AFRICA & UGANDA ====================================================================== ====================================================================== EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ====================================================================== 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== (1911) 1910 200,000 ¿OV: Head of Edward VII, facing right EDWARD VII, KING & left EMPEROR right / DES under bust. ¿RV: Lion passant guardant and Mt.Kilimanjaro (African landscape) 25 / CENTS / 1910 / H (mintmark), EAST AFRICA & UGANDA PROTECTORATES around. EDGE: Reeded MINT: H = THE MINT, BIRMINGHAM LTD. DESIGNER: DES = George William DeSalles REFERENCE: Y-7, KM-3 POPULATION: Esat Africa - 1910 - 4,000,000 including 25,000 asiatics. FOOTNOTE: This issue was struck by the Birmingham mint in 1911 with the date of 1910 on the coinage. FOOTNOTE: The colonial coinage listed here for the British Protec- torate of East Africa was produced by both the Royal Mint, London 1914 - 25 CENTS - OBVERSE starting in 1906, with the next issue dated 1910 contracted from ====================================================================== The Mint, Birmingham, Ltd. minted in 1911. The next two years the EAST AFRICA & UGANDA, BRITISH PROTECTORATE of 25 cents denomination was minted again by London, while the BIRMINGHAM MINT final dates of 1914, 1918 and 1920 were again ordered from ====================================================================== Birmingham. The listings are arranged in mint order. 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== FOOTNOTE: The inland Uganda Protectorate lying west of Kenya Colony, is the former Kingdom of Uganda. It was declared a British 1914 80,000 Protectorate in 1894. 1918 40,000 rare ¿OV: Head of George V, facing left GEORGIVS V REX ET IND: IMP: (George V King and Emperor of India) around / B.M.
[Show full text]
Heritage Management Plan Final Report
Australian War Memorial Heritage Management Plan Final Report Prepared by Godden Mackay Logan Heritage Consultants for the Australian War Memorial January 2011 Report Register The following report register documents the development and issue of the report entitled Australian War Memorial—Heritage Management Plan, undertaken by Godden Mackay Logan Pty Ltd in accordance with its quality management system. Godden Mackay Logan operates under a quality management system which has been certified as complying with the Australian/New Zealand Standard for quality management systems AS/NZS ISO 9001:2008. Job No. Issue No. Notes/Description Issue Date 06-0420 1 Draft Report July 2008 06-0420 2 Second Draft Report August 2008 06-0420 3 Third Draft Report September 2008 06-0420 4 Fourth Draft Report April 2009 06-0420 5 Final Draft Report (for public comment) September 2009 06-0420 6 Final Report January 2011 Contents Page Glossary of Terms Abbreviations Conservation Terms Sources Executive Summary......................................................................................................................................i How To Use This Report .............................................................................................................................v 1.0 Introduction............................................................................................................................................1 1.1 Background..........................................................................................................................................1
[Show full text]
Diggens Sculpture
The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition.
[Show full text]
Of Australia's First Woman Sculptor and Her War Memorials
In Memoriam: World War I memorials by the Australian sculptor Margaret Baskerville (1861-1930). Margaret A. Rose, FAHA, FRHistS Margaret Francis Ellen (“Nell”) Baskerville was born in Melbourne, Victoria in 1861 and was one of the first Australian-born women artists to become a professional sculptor. This brief illustrated account of her war memorials is based on my study of her work and that of her husband and fellow sculptor C. Douglas Richardson, which was published for the Brighton (now Bayside) City Council collection of their paintings and sculpture under the title Victorian Artists. Margaret Baskerville (1861-1930) and C. Douglas Richardson (1853-1932) in 1988. Several memorials to the fallen were commissioned and completed by sculptors as well as by stonemasons in Australia in the aftermath of the “Great War”. Many are recorded, and some are illustrated, in the numerous editions of Sacred Places: War Memorials in the Australian Landscape by K.S. Inglis, assisted by Jan Brazier, of 1998, as well as – more recently – on websites such as those for the “Monument Australia” and “Victorian Heritage” databases. As Inglis has noted, the majority of the war memorials unveiled in the public spaces of Australian towns following World War I had been for – and had illustrated – the male soldiers who had fought and fallen in battle. Amongst the memorials built and unveiled following World War I were, however, also two by the Australian sculptor Margaret Baskerville (1861-1930) for the British nurse Edith Louisa Cavell. Cavell (born in Norfolk, England in 1865) had trained as a nurse in London under a friend of Florence Nightingale (Matron Eva Luckes), had taken up work in Belgium and been executed there at dawn on 12 October 1915 by order of the German Military Governor of Brussels for having assisted in the escape of allied soldiers, and despite the fact that she had tended the wounded of both sides.
[Show full text]
Together< >Apart
together < > apart ART ASSOCIATION OF AUSTRALIA & NEW ZEALAND ANNUAL CONFERENCE 2012 all our relations Artistic Directors: Catherine de Zegher and The 18th Biennale of Sydney: all our Gerald McMaster relations (27 June – 16 September 2012) bos18.com <http://bos18.com> is based on a collaborative framework and dynamic new exhibition model. Artistic The Biennale of Sydney is Australia’s largest Directors Catherine de Zegher and Gerald contemporary visual arts event, showcasing McMaster will bring together international bold and innovative contemporary art from artists to collaborate and create artworks, around the world. The free exhibition is exploring new ideas from unexpected voices presented over 12 weeks in the heart of Sydney around the world. at leading contemporary art spaces and on world heritage-listed Cockatoo Island. Alongside Biennale of Sydney venues are connected by a the exhibition, the Biennale presents artist spectacular art walk on Sydney’s Harbour. Start talks, guided tours, performances, forums, at the Art Gallery of New South Wales and family days and other special events – all free stroll through the picturesque Royal Botanic to the public. Gardens to arrive at the newly redeveloped Museum of Contemporary Art Australia in the heart of bustling Circular Quay. Continue on to historic Pier 2/3 then jump on the Biennale Free Ferry across Sydney Harbour to world heritage-listed Cockatoo Island, a former shipyard and prison. together < > apart ART ASSOCIATION OF AUSTRALIA & NEW ZEALAND ANNUAL CONFERENCE 12–14 JULY 2012 UNIVERSITY OF SYDNEY NATIONAL ART SCHOOL ART GALLERY OF NEW SOUTH WALES together < > apart Major supporters Supporters The conference is supported by the Australia Council, the Power Institute, Art History and Film Studies, Sydney University Museums, Sydney College of the Arts and United States Studies Centre, University of Sydney; and the College of Fine Arts, University of New South Wales; the National Art School; the Art Gallery of New South Wales; and the Sherman Contemporary Art Foundation.
[Show full text]
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC.
[Show full text]
Bertram Mackennal and the Sculptural Femme Fatale in the 1890S
Circe 1893 (detail) bronze 240 x 79.4 x 93.4 cm National Gallery of Victoria, Melbourne The Felton Bequest 1910 ‘Her invitation and her contempt’: Bertram Mackennal and the sculptural femme fatale in the 1890s DAVID J GETSY In the early 1890s Bertram Mackennal still struggled to find audiences, patrons and critical recognition. After having moved between Melbourne, London and Paris, he had been unsuccessful in garnering what he considered sufficient attention, and his letters from the period are fraught with anxieties and plans for his career. In 1892 he began working on a major life-size ‘statue’ in the ‘ideal’ or ‘imaginative’ genre that would, he hoped, establish his name. ‘I am trying to make a big work of this figure and at present am full of hope,’ he remarked.1 Such a gambit was common enough for an aspiring sculptor in the competitive market of the late 19th century. British sculpture, in particular, had been reinvigorated in the 1880s by artists who staked their reputations on similar highly-conceptualised life-size statues. This movement to modernise the theory and practice of sculpture in Britain would be dubbed the ‘New Sculpture’ in 1894 – the same year Mackennal’s own contribution to it could be seen at the Royal Academy of Art’s summer exhibition.2 As Mackennal knew himself from his brief time at the Royal Academy schools and from the contacts he made there, polemical statues such as his could be the statements through which debates about the theory, practice and future of sculpture occurred.3 Even after his move to Paris, Mackennal seems to have identified with these formulations of modern sculpture in London and kept a close eye on the British capital and the better market possibilities it offered for an Australian sculptor.4 His ambitious life-size statue, although first exhibited at the 1893 Paris Salon, drew deeply on his familiarity and sympathy with the aims of the New Sculpture, and it was in London where it made its more lasting impact.
[Show full text]
Sturt Street Gallipoli
12 William Dunstan VC 1995 8 Korea, Malaya, 2000 4 Gordon Memorial 1969 Memorial Borneo, Vietnam Raymond B. Ewers The Dunstan Memorial is a minimal form of rough-cut Public Art Walk: Lest We Forget is a contemporary and crisp treatment, The bronze statue of a horse commemorates poet and bluestone and sheet granite in memory of Ballarat born marking the sacrifices of Australian forces involved in the horseman Adam Lindsay Gordon and the horses and mules soldier, William Dunstan, who served with honour in conflicts of South East Asia, including the Korean War killed during WWI. The statue depicts a horse going into battle Sturt Street Gallipoli. His unit successfully defended a post despite being 1950-53, the Malayan Emergency 1950-60, the Borneo known as a 'charger' mounted on a base of Warrenheip seriously wounded. He and one mate were the only survivors This is one of four public art walks highlighting the City of Uprising 1962-64 and the Vietnam War 1962-72. granite. During World War II the artist, Raymond Ewers was of the 10 men defending the trench and all were awarded Ballarat’s Public Art Collection. The Collection holds over A plaque was added in 2006 by the Victorian Vietnam made an official war artist with the rank of lieutenant. the Victoria Cross. 120 artworks and is one of the largest and most significant Veterans Community. regional public art collections in Australia. 5 Cenotaph Moderate walk, some inclines Walk 1-1.5 hours 13 King George V Monument 1938 6 9 Queen Alexandra 1908 John B.
[Show full text]
Annual Report
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2006 – 30 June 2007 North Terrace ADELAIDE SA 5000 www.artgallery.sa.gov.au ISSN 0728-7925 54 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-fifth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 126th year, ended 30 June 2007. Michael Abbott QC, Chairman Art Gallery Board 2006–07 Chairman Michael Abbott QC Members Mrs Sue Tweddell (Deputy Chair) Mr Adam Wynn Mr Philip Speakman Mr Andrew Gwinnett Mr Peter Ward Ms. Frances Gerard (from 7 February 2007) Ms. Tracey Whiting (from 7 February 2007) Ms Louise LeCornu (until 19 January 2007) Ms Virginia Hickey (until 19 January 2007) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2006-07 6-7 Major Issues Facing the Gallery 8 Major Objectives 2007–08 9 Resources and Administration 10-20 Collections 21-26 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 28 Appendix B2 Members of the Art Gallery of South Australia Foundation Council 28 and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 29 Appendix B4 Art Gallery Staff and Volunteers 30-31 Appendix C Staff Public Commitments 32-33 Appendix D Conservation 34 Appendix E Donors, Funds, Sponsorships 35-36 Appendix F Acquisitions 37-47 Appendix G Inward Loans 48-49 Appendix H Outward Loans 50-53 Appendix I Exhibitions and Public Programs 54-59 Appendix J Schools Support Services 60 Appendix K Gallery Guide Tour Services 60 Appendix L Gallery Publications 61 Appendix M Annual Attendances 62 Appendix N Information Statement 63 Appendix O Financial Statements 64 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: ?? To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
[Show full text]