The Strength of Modern British Sculpture in Today’s Market

Posted on April 29, 2026April 30, 2026 by Jonathan Horwich

In my very earliest days in the art business I was told that there were only two areas of concern for fine art specialists, they were known simply as ‘Flat and Bumpy’! Flat covered pictures, prints and miniatures etc and everything else was ‘bumpy’. This included furniture, ceramics, silver, sculpture – in other words anything else that wasn’t a picture!

On hearing this as a picture specialist myself I immediately knew that I didn’t want to only ever deal with ‘flat’ art and chose sculpture as another option, mainly of the 19th and 20th centuries up to the present day.

This has been a blessing in many ways as it expanded my horizons way beyond ‘flat art’ especially into the sphere of Modern British sculpture with which I seemed to have a natural affinity and strong interest.

Modern British Sculpture is an internationally known sale category and pops up in auctions across the globe, usually in Modern and Contemporary sales from New York to London to Hong Kong, Paris Switzerland South Africa, in fact almost everywhere! By contrast ‘flat’ art by Modern British artists tends to appear in London in stand-alone Modern British auctions.

I believe this may offer an advantage to collectors and investors in Modern British sculpture, as having more choices of sale location when it comes time to sell offers the seller flexibility and potentially higher prices.

This March (2026) in London there were a number of very interesting auctions across various categories that all included some Modern British sculptures which provides us with this hopefully interesting snapshot of the current market.

Henry Moore (1898-1986)

I would like to begin with one of my personal art heroes, Henry Moore (1898-1986) one of our leading 20th Century British sculptors, known for his large-scale abstract bronze works. His sculptures often depict reclining human figures, mother-and-child forms, and organic shapes inspired by nature, bones, and landscapes. Moore explored the relationship between solid mass and empty space, frequently incorporating holes within forms. His work became internationally recognised after World War II and is displayed in public spaces worldwide. Moore’s approach combined modernism with primal influences, drawing on ancient art and natural forms. He emphasised universality and timelessness, making his sculptures accessible while remaining deeply symbolic and innovative. For more on Moore see my article here from July 2nd 2020.

‘King and Queen’ This large-scale , very elegant 1950’s cast bronze masterwork by Henry Moore is 164 cms high and has a beautiful ebony silk patina, it was offered in a 20th 21st century evening auction on March 5th. It was estimated to make £10-15,000 and when the hammer came down at £26,345,000 it became the new world record price for any work by the artist, beating the previous record of £24,722,000 set in 2016. This work was purchased direct from Moore in 1954 and was still in the same family’s collection and is the only one of the 7 casts made still in private hands, all the others are in Museum collections and will never be sold, thus making the work a must have for collectors. Suggested insurance £30 million.

Time/Life Screen, Maquette, No 1 This very stylish small scale bronze was cast in 1952, it has a green/brown patina and is 32.4 cms wide. It was offered in a day auction on 19th March , again it left its estimate of £8-12,000 behind by hammering down at £20,320. The large scale finished work is made in stone and sits on the top of the iconic 1950’s Time Life building on the corner of Bruton Street and New Bond Street W1 in London. It can still be seen from ground level, stand on the pavement on New Bond Street with your back to Burberry’s Flagship store looking across New Bond Street towards the Hermes shop, then look up to the top of the building and there it is. See the article header image of the work in situ. Suggested Insurance £38,000.

Elisabeth Frink (1930-1993)

Elisabeth Frink created powerful figurative sculptures, often focusing on men, animals, and mythological themes. Working mainly in bronze, her figures appear rough, textured, and emotionally intense. Frink’s work frequently reflects post-war anxiety, vulnerability, and aggression, especially in her depictions of wounded or isolated male figures. Horses and birds were recurring subjects, symbolizing strength and freedom. Unlike abstract sculptors, she maintained a strong connection to the human form while distorting it for expressive effect. Her sculptures convey psychological depth and tension, making her one of the most important British sculptors of the 20th century.

‘Seated Man’, from 1986 is a remarkable work cast in bronze with a dark green and brown patina, measuring 131 cms high and is very strong and lifelike, it was offered in an evening sale on March 18th with an estimate of £300-500,000 and sold comfortably at the mid-point for £406,400. Suggested Insurance £800,000.

Jacob Epstein (1889-1959)

Jacob Epstein was a pioneering modern sculptor who challenged traditional British art with bold, often controversial works. Known for his direct carving technique, he worked in stone and bronze to create expressive, sometimes provocative figures. His sculptures explored themes of sexuality, spirituality, and human emotion. Epstein’s public works initially shocked audiences due to their rawness and departure from classical ideals. Despite criticism, he influenced generations of modern artists. His portraits of some of the most famous figures of the 20th century, from Winston Churchill to Albert Einstein, demonstrates his skills and established him as one of the leading modern sculpture in Britain. When you next see Donald Trump on the TV speaking from the Oval office look out for Epstein’s portrait head of Winston Churchill sitting on a surface just behind the president, it looks like he is watching over proceedings, it was recently moved back into the Oval office by the President having been removed and reinstated by successive US presidents, the white house has two copies of the bronze.

Portrait head of Albert Einstein, 43.2 cms high, cast in bronze in 1933 with a green patina, offered in a day sale on Mar 19th. It sold for £101,600 leaving its £40,-60,000 estimate way behind. Suggested Insurance £190,000.

Emily Young (b.1951)

Emily Young is renowned for her contemporary stone sculptures, particularly her carved heads and faces. Working directly with natural stones such as marble and onyx, she highlights the material’s inherent textures and colours. Her sculptures often appear ancient and timeless, as if emerging from the earth itself. Young’s work connects deeply with nature, geology, and human identity, blending natural forms with subtle human features. She emphasizes sustainability and respect for materials, often using reclaimed stone. Her pieces evoke calm, contemplation, and a sense of spiritual presence, bridging ancient traditions with modern artistic sensibilities.

‘Purbeck Blue Angel’ Emily Young is the only living sculptor in this selection, her beautiful unique work in carved stone called measures 52 x 137 x 58 cms, is unique and was carved in 2001and bought directly from Emily in 2002. It was offered in an evening auction on March 18th and estimated at £100-150,000 and sold for £127,000. Suggested Insurance £225,000.

‘Solar Disc’, a unique piece carved in Onyx in 2006, measuring 150 cms diameter and offered in a day sale on March 19th, it was sold for £60,960 versus an estimate of £30-50,000. Suggested Insurance £120,000.

Anthony Caro (1924-2013)

Anthony Caro revolutionized sculpture by moving away from figurative forms to abstract constructions made of steel and industrial materials. Influenced by American modernism, he created large, open structures that interact with surrounding space rather than sitting on pedestals. Caro painted his sculptures in bold colors, emphasizing shape and composition over narrative meaning. His work invites viewers to walk around and experience shifting perspectives. By using welded metal, he transformed sculpture into something dynamic and architectural. Caro played a major role in redefining modern sculpture, influencing many artists with his innovative use of materials and spatial relationships.

Table Piece LXI, was offered in a day sale on March 19th, it dates from 1968 and is made of painted steel and measures 111.8 cms wide, it sold for £35,560 against a £20-30,000 estimate. Suggested Insurance £72,000.

Reg Butler ( 1913-1981)

Reg Butler was known for his stark, linear sculptures that often resemble skeletal or cage-like structures. Emerging after World War II, his work reflects themes of tension, confinement, and human fragility. Butler used materials such as iron, bronze, and wire to create open, airy forms that contrast with solid traditional sculpture. His figures are often abstracted yet suggest human presence and vulnerability.

Butler gained international recognition, notably representing Britain at the Venice Biennale. His sculptures capture a sense of unease and existential anxiety, reflecting the post-war atmosphere and pushing sculpture toward more experimental forms.

Study for a Girl with a Vest, is a tall bronze with a black patina, dating from 1959 and 55.9 cms high, it is number 6 from an edition of 8 casts. It was offered in a day sale on March 19th and sold for £22,860 versus a £10-15,000 estimate. Suggested Insurance £48,000.

Barry Flanagan (1941-2009)

Barry Flanagan is best known for his playful bronze sculptures of hares in dynamic, often humorous poses. Initially working with abstract forms and unconventional materials like sand and rope, he later shifted to figurative sculpture. His hares convey movement, energy, and wit, often referencing dance and human gestures. Flanagan’s work combines lightness with technical mastery, making his sculptures both accessible and intellectually engaging. He drew inspiration from literature, surrealism, and nature. His distinctive style brought a sense of joy and spontaneity to contemporary sculpture, setting him apart from more serious or austere modernists.

Virtue This is a very desirable and typical tall hare cast in 1993 and numbered 1 from the edition of 8, and at 152 cms high with a rich black patina it attracted a lot of interest in an evening auction on March 18th it almost doubled its estimate of £120-180,000 by selling at £203,200. Suggested Insurance £395,000.

Barbara Hepworth (1903-1975)

Barbara Hepworth was a central figure in modernist sculpture, known for her abstract forms carved in wood, stone, and cast in bronze. She explored harmony, balance, and the relationship between form and space, often piercing her sculptures with holes and threading them with string. Inspired by landscapes, especially in Cornwall, her work reflects natural rhythms and human experience. Hepworth emphasized craftsmanship and direct carving, valuing the material’s inherent qualities. Her sculptures evoke calm, order, and spiritual unity. Alongside her contemporaries, she helped shape modern British art and brought international recognition to abstract sculpture.

Curved Form, is a truly elegant hand carved piece in walnut wood, it dates from 1960 and is a unique work, measuring 46.3 cms high. Such works are very tactile and while I was standing in front of it I was overcome with a strong desire to stroke it…. It was offered in an evening auction on March 18th and sold for £1,016,000 against its £750-1,000,000 estimate. Suggested Insurance £1,900,000.

Solitary Form is another unique work, it was carved in 1971 from white marble and is 64.7 cms high. This came from a private Japanese collection, it was offered in an evening auction on March 18th and sold for £539,750 against a £500-800,000 estimate. Suggested Insurance £950,000.

I believe this Art category is growing in value and interest and is demonstrating very strong buyer interest, all the pieces shown here are a fully authenticated by literature, provenance and exhibition data this allows buyers to simply focus on whether or not they would enjoy owning them.

As Chelsea Celebrates Gardens, We Uncover Their Hidden Worth

Posted on May 22, 2025May 21, 2025 by Stephanie Connell

The RHS Chelsea Flower Show 2025, is currently underway. In recognition of Chelsea, we are considering an often-neglected area for insurance: the garden.

We will be sharing some recent auction highlights, illustrating the fascinating and valuable items that can be hidden in our outdoor spaces.

The history of British gardening has deep “roots” dating to The Romans. The first pleasure gardens were planted in England almost 2000 years ago. Domestic gardening, as understood today really evolved over the past two centuries. Currently, it is estimated that 78% of British adults have access to a private garden, with the UK garden market worth over £8 billion annually. It is clear, we are a nation of gardeners.

So let us turn our attention to these spaces. Earlier this year, Chiswick Auctions uncovered a fascinating piece in a London garden. What at first glance appeared to be a forgotten broken flowerpot, surrounded by weeds, turned out to be a significant discovery. This unassuming ceramic vessel was an unknown work produced by the eminent studio potter Hans Coper (1920 – 1981). (Chiswick Auctions, Design, 15th April 2025, lot 267). Notable for its monumental proportions, it was one of Coper’s largest creations. Coper’s work is highly desirable and can fetch hundreds of thousands of pounds.

Working with the family, the auctioneers found it commissioned by their late mother in 1964. Unfortunately, at some point, it had been broken into two pieces, the owner then choosing to place it in her London garden.

A lost treasure, the work was estimated at £6,000 to £8,000. Despite its condition, it sold for a total of £45,990.

Investing in garden statuary can significantly enhance an outdoor space, and historical influences continue to shape the design of our gardens.

This results in exceptional items from antiquity, occasionally being unearthed in British domestic gardens.

In May, auctioneers Toovey’s, offered an important bust of the Roman Emperor Septimius Severus (Toovey’s Auctions, Furniture etc, 15th May 2025, lot 2350). Produced in the late 2nd or early 3rd century AD, the sculpture was once part of the collection held at the Perthshire estate of Rossie Priory. It was subsequently obtained in the mid 20th century by the artist Edward Halliday CBE (1902 – 1984).

Halliday chose to exhibit it outdoors. Photographs from the 1950s, show the impressive figure of Septimius Severus on display in the garden of Halliday’s St. John’s Wood home, in one image even wearing a policeman’s helmet. The ancient figure of the emperor remained outdoors until he was consigned for auction.

The bust was offered with a pre-sale estimate of £40,000 to £60,000. The total selling price for this rare survivor was just over £142,000.

Edward Halliday additionally acquired a 2nd century AD cinerary urn also from Rossie Priory (As before lot 2351). This artifact was similarly utilised by the Halliday family as a garden ornament. The carved marble was estimated at £2,000 – 3,000, the result on this occasion was £5,176 (hammer price £4,000).

Several of Britain’s foremost artists and designers have created works specifically for outdoor use. These striking objects and artworks can be prominent features in British gardens.

Archibald Knox (1864 – 1933) was a pivotal figure in the Arts & Crafts movement. Knox’s work was wide ranging. As principal designer of Liberty & Co., his designs helped shape the Liberty ‘look’.

While many are familiar with Knox’s metalwork designs for Liberty, it is worth noting that he also created pieces for the garden. Marketed as ‘Modern Celtic Art’ the range included planters, garden urns, and objects in sandstone and terracotta.

These understated pieces deserve careful attention. In summer 2024, auctioneers Rosebery’s sold a scarce sundial designed by Knox, manufactured by Liberty & Co., circa 1905. (Lot 59, Rosebery’s, Design, 17th July 2024). The ‘Floralis’ pattern work in terracotta and brass sold for a total of over £6,000.

This collection can go unrecognised. If you are considering replacement costs, Liberty urns typically exceed £1,000 on the open market (for an example to illustrate see lot 1491, Mallams Auctioneers – The House & Garden Sale, 25th March 2025).

Edward Bawden (1903 – 1989) was a central figure in British art. As a printmaker, painter, and illustrator, he captured a distinctly English perspective. Surprisingly, his work extended to designing garden furniture. Initially creating furniture for his home in Saffron Walden, these pieces were produced commercially in the 1950s, by the Bilston Foundry in Staffordshire.

Bawden’s seating sometimes appears at auction and can occasionally go unattributed. In early 2024 an example of a Bawden cast iron bench emerged at Sworders. In apparently excellent condition it reached a hammer price of £4,000 (Sworders, Design, 16th January 2024, lot 180).

Other notable names include the Coalbrookdale Company (circa 1709 – circa 1927) renowned for its production of cast iron garden furniture, primarily during the 19th century.

Coalbrookdale originals can be worth several thousand pounds. For instance, a rare example of the Osmunda Fern Pattern bench, manufactured in the late 19th century was sold by Dreweatt’s last year. It achieved just over £10,000 (Dreweatt’s, Ken Bolan: My Mind’s Eye, 14th May 2024, lot 185).

Garden enthusiasts may appreciate a quote from British garden designer Gertrude Jekyll (1843 – 1932), “The lesson I have thoroughly learnt, and wish to pass on to others, is to know the enduring happiness that the love of a garden gives…”

To arrange a valuation of your items, call us on 01883 722736 or email us on [email protected].

Dale Chihuly

Posted on October 3, 2023January 3, 2025 by Jonathan Horwich

Dale Chihuly is an Internationally renowned American glass artist known for his innovative and intricate glass sculptures and installations. He was born on September 20, 1941, in Tacoma, Washington, USA. Chihuly’s early life played a significant role in shaping his career as an artist, here are some key points.

Family Background

Dale Chihuly was raised in a middle-class family in Tacoma, Washington. His father worked as a meatpacker and union organiser, while his mother was a homemaker.

Early Interest in Art

Chihuly developed an early interest in art and began working with glass in the early 1960s while studying interior design at the University of Washington in Seattle. During this time, he had the opportunity to work at the Venini glass factory in Venice, Italy, which ignited his passion for glassblowing.

Education

After completing his undergraduate studies, Chihuly pursued a Master of Fine Arts (MFA) degree in ceramics at the Rhode Island School of Design (RISD).

Founding Pilchuck Glass School

In 1971, Chihuly co-founded the Pilchuck Glass School in Stanwood, Washington. This school played a crucial role in the development of the American studio glass movement, providing a space for artists to experiment and collaborate with glass as a medium.

Artistic Influences

Chihuly was influenced by various artistic movements and styles, including the Murano Italian glassblowing tradition, Native American art, and the Studio Glass Movement. His work often combines traditional glassblowing techniques with contemporary artistic concepts.

Career Development

Dale Chihuly’s early career was spent in experimentation and innovation in glass art, which resulted in the production of his best-known series of glass sculptures, including the iconic Macchia and Persian series.

International Recognition

Over the years, Chihuly’s work has gained international acclaim, and he has become one of the world’s best known and most prominent glass artists. Here are just six of his most famous and widely recognised works and projects.

Chihuly’s body of work extends far beyond these few examples, and his contributions to the world of glass art are extensive and influential.

Here are some lesser-known facts about Dale Chihuly:

Early Interest in Interior Design:

Before becoming a renowned glass artist, Chihuly initially pursued a degree in interior design at the University of Washington. His interest in design played a role in his creative approach to glass art and sculpture.

Inspiration from Indigenous Art:

Chihuly has drawn inspiration from indigenous art and cultures around the world. In particular, he has been influenced by Native American art, and some of his works incorporate elements reminiscent of Native American basketry and design.

Innovation in Glassblowing:

Chihuly is known for his innovative techniques in glassblowing. He introduced the concept of the “team approach” to glassblowing, where he works closely with a team of skilled artisans who help bring his intricate and large-scale designs to life.

Blind in One Eye:

In 1976, Chihuly was involved in a car accident in which he lost vision in one eye after being struck by a metal rod. Despite this life changing injury for any artist working in any medium, he continued to create glass art and adapted his techniques to accommodate his visual impairment.

Collections in Unusual Places:

Chihuly’s work can be found in some unexpected places. In addition to galleries and museums and private homes his glass sculptures have been displayed in unique locations such as botanical gardens, casinos, and even underwater. For example, his glass installations have been featured in underwater settings like aquariums and also Venice during his “Chihuly Over Venice” in 1996, see 5 on previous page.

After looking at some of the images of Dale’s huge installations and projects you would be forgiven for thinking that owning a piece is only possible for the elite collector with deep pockets and lots of space! Happily, Dale makes some beautiful table size and smaller single pieces that all use the exact same wonderfully uplifting ‘hot’ colours and flowing shapes. The first Exhibition of Dale’s work I saw was at the Halcyon Gallery London in January 2108. I remember being blown away by the vibrancy of his colours and the sheer energy and scale of the larger pieces and the gem like qualities of the smaller works which were all beautifully displayed in elegant glass display cases.

Chihuly’s works come up at auction fairly regularly and also appear on the art selling sites, Artsy and 1st Dibs, I have made a small selection of auction sales with prices and estimates as a guide and some currently available pieces for sale on these two main selling sites, which I hope will further wet your appetite for works by the master of glass, Dale Chihuly.

Collection care: how to protect your investment

Posted on August 23, 2022January 31, 2025 by Sarah Giles

Collections are usually amassed over years and great love and care often goes into the acquisition of each piece. Whether your motivation behind the collection is financial or whether it is to leave a legacy, it is vital to make the right choices on the display and care of the artwork or object as these factors will impact the condition of the artwork, not only in the short term, but also in the long term. Condition plays a crucial factor when determining the value on the open market. Many owners are surprisingly casual with their artwork, particularly owners who have inherited the works rather than bought them and, therefore, see them more emotionally rather than in terms of their commercial value.

As with all assets, it’s essential to ensure that works of art are cared for properly and that their condition is maintained since good condition is one of the key factors in their financial value.

Working with clients and their collections over the years, I’ve seen certain recurring issues that can be detrimental to the condition of an artwork, so I’d like to share some of the key things to consider when looking after the items in your collection:

Cleaning

When an object stays in a set position, the risk of damage is minimal, however, when it is moved it is instantly put into a precarious position. Broken items are a frequent casualty in the hands of an over enthusiastic cleaner. If an item is broken, it’s vital to pick up every fragment as this will make repairs more successful and, in most cases, less costly. It’s best to avoid gluing things back together yourself, judging from the attempts I have seen, it’s never quite as easy as you might think!

If you have a valuable and vulnerable collection, it may be worthwhile to take the precautionary measure of employing a Conservation Cleaner. A specialist in this area will have the expertise to handle the object with sensitivity, knowing how and where to lift an object. They will account for weak or fragile areas or surfaces to prevent damage from occurring during the process.

Of course, not everyone has the budget for a Conservation Cleaner and speaking from my own experience, I like to clean the fragile items in my own collection. I treat these items differently to someone who doesn’t have the same emotional attachment, however careful they might be.

If cleaning a shelf which displays many objects, find a safe location and transfer the items to this position. Trying to dust around objects, can result in knocking over adjacent items. If you have something with a handle like a jug, it will be safer to hold it in two hands and hold it from the main body of the object. Hairline cracks which can be invisible to the naked eye can be present and therefore breaks can occur at vulnerable points.

Surface dirt and dust can affect an object as it absorbs moisture from the air, into the surface so it is important to clean an item regularly. A cleaner may adopt a method
that isn’t appropriate and can cause more damage to an object than the dirt itself; a duster may have fibres which can snag and cause damage to an item, for example a delicate gilded picture frame. A good solution for this is to use a soft brush, like an artist’s paint brush, if used gently, these can help remove dust without catching on or abrading vulnerable areas.

Specialist firms offer in-house training to domestic staff charged with the day-to-day maintenance of properties and their contents. Bespoke sessions are put together around the individual requirements of the house and collection, identifying those pieces which are safe to handle and how best to approach them, and to identify which pieces require attention from a conservator.

Display/Installation

If an item is very delicate, it is worth considering a bespoke mount or display case to help support it and perhaps to prevent it getting too dusty or from being accidentally knocked over.

Weak picture hangings and mounts are common and are an easily preventable cause of damage. I have seen many an insurance claim following the snapping of a hanging wire. Not only do the pictures themselves become damaged, but they can break items beneath them.

Many owners are so keen to display a new piece, they use the existing fixings without considering whether they are suitably strong. Engaging a specialist to carry out the installation of an artwork can be money well spent.

Pictures should be framed to conservation standards, using non-reactive materials. Works on paper can become foxed – the mottled brown staining which is caused by acids from the backboards or mounts leaching into the surface of the paper. Over time this will cause the paper to degrade.

It also is worth considering changing the glazing for acrylic or glass with a UV filter, this will help retain the colours of the artwork. If acrylic is used, this will prevent damage from occurring in the event of an accident; it will not splinter and break as glass does. However, if you have a pastel artwork, acrylic should not be used as the static charge can draw the pastel to the glazing itself. A good conservation framer can offer recommendations on what will be the best solution for your picture.

Marble and bronze items should be handled and installed by professional handlers, not by general movers who can lift heavy items. People think marble is robust as it is heavy, but in fact its natural veins cause the material to be very weak and prone to damage if handled incorrectly.

The same can be said for bronze as there may inherent weaknesses in the casting. A specialist will know how best to move the item taking weak areas into account.

Environment

Consideration should be given as to where you choose to display artwork, and environmental factors such as temperature and humidity should be assessed when choosing a suitable location.

Air conditioning, central heating, artificial lighting and direct sun light all potentially have a detrimental effect on the composition of an artwork, both structurally and in terms of the surface finishes. Certain walls within rooms can provide a more challenging environment than others due to the way the sunlight falls within the room or if they are an external wall which can increase issues with damp.

There is technology available for monitoring environmental conditions and is one of the most effective means of protecting works of art from short-and-long-term environmental damage. However, the information needs to be looked at and analysed and whilst helpful it cannot replace regular inspection of pieces to monitor their condition. I once saw an Andy Warhol ink sketch of which had completely faded, and this apparently had happened in a few months. The owners of the house had been at one of their other properties and this was missed by the house keeping staff.

Condition Report

A report carried out by a specialist to assess the condition of an object can be vital in some situations. It is often a requirement if lending or borrowing a work of art. If carried out by an independent third party, it acts as a neutral account and helps to protect all parties involved in the transaction.

It is also a useful precautionary measure to prevent a costly mistake when purchasing a work of art (a condition report may reveal areas of damage, details of restoration or materials or processes that aren’t inconsistent with the provided date of a piece), and in situations where there is an increased risk of damage, for example during transit.

Items damaged during shipping are a rarity, but accidents do unfortunately happen, which is why so many collectors are keen to explore solutions that allow them to reduce the number of times they need to ship valuables. Christie’s recently used hologram technology to take a Degas Bronze Sculpture of a Dancer on tour, although can this really be a satisfactory substitute for seeing the real item in the flesh?

Insurers may like to engage a professional condition report following a loss, a conservator can potentially point out factors such as an inherent weakness in an object such as a manufacturing fault, like a vein in a piece of marble or an area of previous repair which has caused an area of stress elsewhere in the object.

Outdoor

Outdoor sculpture or furniture is an area that is often overlooked, designed in heavy materials, it is easy to assume that materials such as stone and metal are resilient, however this is not the case and pieces do require care and attention to prevent the objects from deterioration.

There has been an increase in rainfall in the UK, so it is now more important than ever to protect garden statuary from excessive water ingress. Weather extremes are also more commonplace, and this can profoundly affect marble or stone as it absorbs moisture, followed by freezing temperatures which can cause the stone to crack due to the fluctuations.

A wax coating can be applied to bronzes to help protect the surface from the elements. Sculptures of stone or metal should be covered during winter; the purpose of a cover is to help maintain a steady condition to help mitigate damaging fluctuations. The covers must be lightweight so as not to damage the sculpture, but robust enough to protect the object. In interest of sustainability and to minimise cost to the client, there are covers available which can be stored during more temperament months and then reused when necessary.

So, you have taken precautionary measures, but accidents can happen and when they do the following steps may just help:

Gather up all of the broken pieces, no matter how small – restoration can often be more successful if all of the original pieces have been saved and this will also help lessen any loss in value.

Collectors should be mindful of the fact that the way an object is restored may play a key part in mitigating any loss of value following damage.
One should always approach a reputable company to undertake treatment. Once an accident has been discovered, or damaged has been identified, contact this company as soon as possible.
Finally, if making a related insurance claim, do remember to photograph and preserve all the evidence. If the claim is due to damage during transit, it’s important to keep hold of shipping documentation, condition reports and packing materials and make sure photographs are taken as a piece is unpacked.

For more information contact Sarah Giles on 07876 147230 or visit www.sarahgilescc.com

Modern British Sculpture Sleeper

Posted on November 11, 2020August 21, 2024 by Jonathan Horwich

Known in the Art business as a ‘sleeper’ this 19 cm high, charming, and unique marble carving sold for 150 times its low estimate at Mellors and Kirk’s auction last month.

Very temptingly priced at a ‘come and buy me ‘estimate of £40-60 and intriguingly catalogued as ‘Modern British School’, this sculpture of a fawn grooming was finally hammered down at £6,000.

The Fawn is often depicted as a mythical creature and this piece certainly bears the hallmarks of early 20th century British carving. The attribution to Modern British School, although somewhat broad, is I believe, largely accurate as the piece could be attributed to the ill-fated and short-lived artist, Henri Gaudier Brzeska, (1891-1915), who although 100% French, somehow became an honorary ‘Brit’ and an integral part of the early dawn of the Modern British Art Movement at the beginning of the 20th century. He exhibited alongside greats such as Walter Sickert and Augustus John and is now very highly regarded as a sculptor and original work by him rarely if ever appears at auction. If this piece is by Gaudier then it’s a particularly good buy for someone as it could be worth 10-15 times the purchase price.

Another possibility is the sculptor and first husband of Barbara Hepworth, John Skeaping (1901-1980). If by him then it is still worth more (but not hugely more – value may increase by 2 or 3 times). I do not think it is by any of the big guns of Modern British sculpture such as Henry Moore or Barbara Hepworth, at least neither of them sculpted fawns. However it is an intriguing, good quality and well carved piece and so well worth a punt at £6,000…..

Watch this space for an update in case I hear anything more about its final attribution!

Henry Moore, Prolific Artist

Posted on July 2, 2020August 19, 2024 by Jonathan Horwich

Henry Moore was born in Castleford in 1898 into a Yorkshire coal mining family. His rather didactic father felt that his children should never follow him into mining and saw education as the way out.

Reclining Figure, Festival 1951
Bronze, 230 cms wide.
Sold in June 2016 for £24,722,500. This is the current world record price for a Moore bronze

Moore had shown an early talent for sculpting and drawing at junior school and had made numerous very creditable pieces from clay and stone. He passed the entrance exam for Castleford Grammar School at the second attempt thus joining some of his siblings already at the school. The wide breadth of subjects taught there exposed him to medieval sculpture which attracted his interest straight away and he was encouraged to study, copy and draw pieces. He was also asked by the Headmaster to carve a School Society plaque and also a roll of honour for pupils who were serving in World War I.

Reclining Figure, 1982
Bronze, 246 cms wide.
Sold for $11,000,000 in Nov 2017

Moore joined the War effort in 1917, very soon after joining he was gassed and subsequently hospitalised until 1918, thus keeping him safely away from any further hostilities. On leaving military service in 1919, he received a servicemen’s grant which gave him enough money to study Fine Art at Leeds School of art. Between them, Leeds Art Gallery and the School of Art gave him easy access to see and study the many Modern works of art in their respective collections. This had a profound effect on Moore’s personal and artistic development and he became strongly influenced by the work of Brancusi, Jacob Epstein, Henri Gaudier Brzeska and Frank Dobson. These influences pulled Moore towards the almost forgotten traditional carving method known as ‘direct carving’ in which the imperfections of the material and marks left by the carving tools, became part of the finished sculpture, the process is referred to by sculptors as ‘truth to material’ . In actively pursuing this method Moore was resurrecting a then nearly four hundred year old carving tradition stretching back to the Old Master sculptors Canova and Bernini.

Mother and child with apple, 1956
Bronze, 72 cms high.
Sold for £5,010,500 in February 2014

Later in his career when casting his sculpture in bronze, Moore found that in his hands bronze was not an antithesis of stone or wood carving: carving, scraping and grating his plaster models allowed him to create texture in his finished bronzes that matched anything he could achieve in his stone or wood pieces. In fact Moore paid great attention to the patination of his bronzes and supervised the process personally whenever possible, especially on large scale works where it is evident that many of his patinas suggested natural textures and weathering.

Large 4 piece reclining figure, 1972
Bronze, 402 cms high.
Sold $3,300,000 June 2006. Since 2006 prices have increased and I would now expect this piece to make nearer to $10 million

Following his studies at Leeds, Moore moved to Hampstead where he took on part time teaching work at the Royal College of Art while continuing working on his sculpture. He later took up another teaching role at the Chelsea College of Art where he began to develop more abstract work.

He was part of the organising committee for the international surrealist exhibition in London in 1936, where Roland Penrose purchased one of his Moore’s new abstract mother and child works, carved in stone. Penrose displayed his new purchase in the front garden of his house in Hampstead, much to the annoyance of the local residents who ran a two year campaign to remove the piece!
In 1938 Moore met Kenneth Clark who championed his work from this first meeting onwards.

Reclining Figure, 1982
Bronze, 246 cms wide.
Sold for £3,625,250 in Feb 2006. Again the value of this piece has risen significantly since 2006, another from the same cast sold for $11,000,000 in 2018

At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton, so Moore resigned his teaching post and began working on powerful drawings of Londoners sleeping on the London underground all commissioned by Kenneth Clark, now the Chairman of the War Artists Advisory committee. When the Moores’ Hampstead home was hit by shrapnel Henry and his wife Irina moved to a farmhouse called Hoglands, set within in a hamlet called Perry Green, just outside Much Hadham in Hertfordshire . This house and the surrounding land became a home, studio, gallery, workshops and display area for his work for the rest of his life. Over time his continued financial success in selling work enabled him to acquire adjoining land nearby and buildings for use as studios and exhibition spaces. This large rural site now houses the Henry Moore Foundation galleries and study centre, where you can take a tour of Hoglands, walk the grounds and gardens, and visit the galleries and studios which are all open to the public.

Family Group,1946
Bronze, 44 cms high.
Sold in June 2017 for £3,861,000. In 2008 another from this same edition sold for $4,000,000

After the war, following several miscarriages Irina had a baby daughter, Mary who was born in March 1946. Two years prior Moore had lost his mother and these two events drew him to focus on one of his most successful and enduring themes, the Mother and Child. Also in 1946 he made his first visit to America to attend a major retrospective of his work held at MOMA in New York. This exhibition was a huge critical and popular success and his fame spread rapidly across the US. He was taken on by an art agent in Los Angeles who advised many Hollywood moguls and actors. His work was bought in quantity by Betty Warner, a very wealthy and influential socialite and collector in LA and the wife of Jack Warner of Warner Brothers pictures was also a strong influencer.

Horse
Bronze, 13.8 cms high.
Sold in March 2020 for £32,500. Horses are rare subject matter for Moore bronzes, however I think this piece is elegant and nicely stylised and offered good value at this price

The last 30 years of Moore’s life were his most productive in every sense, he was incredibly busy making, exhibiting and selling work in all mediums, particularly bronze all around the world.

Mother and Child, 1929
Bronze, 10.2 cms high.
Sold for $5,000 in December 2019. This is the cheapest piece you can find, however its perhaps not the prettiest

By the early 1970’s he was making over £1,200,000 a year in income from sales of art alone. He was probably the first British artist of the 20th century to become a millionaire. However the downside was that as a UK tax payer earning this sort of money he was liable to pay 80% tax on his earnings In fact so significant was his tax bill that in 1972 he was publicly declared the single highest individual tax payer in the entire UK. This warranted a visit to Hoglands by the then Chancellor, Jim Callaghan to acknowledge his tax contribution, I noticed a photo taken of this meeting at Hoglands, Jim Callaghan is smiling broadly, however Moore isn’t looking quite so cheerful having just parted with £960,000 in income tax .

Mother and child, Relief, 1977
Bronze, 38.4 cms.
Sold in November 2019 for $10,000. There are a number of relief bronzes smiler to this which, although unusual, do offer good value.

Henry Moore produced a huge quantity of the highest quality work, particularly bronzes and he has a truly international reputation, so his pieces appear for sale around the globe, all the time. On any given day you can find something new coming up for sale somewhere in the world and I show a few examples below. One of the many truly remarkable facts about the Moore market is just how cheap his tiny bronzes are, in fact prices for bronzes range from as little as £5,000 for a small piece right up to £25 million for the largest pieces. In addition peace of mind is offered to buyers by the carefully curated complete catalogue raisonees listing with reference numbers all his bronzes, unique carvings, drawings and prints from all periods.

Caricature head, 1978
Bronze, 10.1 cm high.
Sold in November 2019 for $15,000