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Frederick Edward McWilliam Sold at Auction Prices

Small Sculture, Painter, Sculptor, b. 1909 - d. 1992

(born 30 April 1909 Banbridge, Northern Ireland; died 13 May 1992 London, England) Irish Sculptor. At first training to become a painter, Frederick Edward McWilliam attended Belfast College of Art for two years and went on to study at the Slade School of Art in London from 1928-31, where he later taught. It was here that he met the famed sculptor Henry Moore and was inspired to become a sculptor. He worked for a year at a studio in Port d’Orleans in Paris and met Constantin Brancusi in 1933. In 1936 McWilliam attended the International Surrealist Exhibition in London; he later joined the British Surrealist group in 1938. His sculptures were primarily distorted human figures that lent themselves well as surrealist imagery; he would omit body parts leaving an unharmonious, incohesive shape. In 1939 he had his first solo exhibit at the London Gallery. During World War II McWilliam joined the Royal Air Force and was sent to India. His sculpting technique changed after the war; producing more rough textured works. He explored various media, including wood, bronze, stone, and aluminum. His first American exhibition was at the Felix Landau Gallery in Los Angeles in 1963. His works are in the collection of such major institutions as the Tate, the National Portrait Gallery, and the Royal Opera House, all in London. McWilliam has won numerous titles and awards: in 1964 he won an honorary doctorate by Queens University; in 1971 he won an Oireachtas gold medal for sculpture; was appointed Fellow at University College; and in 1989 was appointed a Senior Royal Academician.

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      • FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Le Banc. resin composition
        Nov. 19, 2024

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Le Banc. resin composition

        Est: £2,000 - £4,000

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Le Banc. resin composition and metal armature, unique 16¼ in. (41.1 cm.) wide.

        Christie's
      • FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Bilateral Relief. bronze wi
        Nov. 19, 2024

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Bilateral Relief. bronze wi

        Est: £18,000 - £25,000

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992). Bilateral Relief. bronze with a green patina 75 in. (190.5 cm.).

        Christie's
      • Kneeling Girl II
        Nov. 15, 2024

        Kneeling Girl II

        Est: £12,000 - £18,000

        Frederick Edward McWilliam, R.A. 1909-1992 Kneeling Girl II signed with initials and numbered 2/5 on the leg bronze height: 32cm.; 12½in. Conceived in 1971, the present work is number 2 from the edition of 5. All proceeds from this sale will be donated to Wilbur Smith Foundation, for more information please visit www.wilbur-niso-smithfoundation.org

        Sotheby's
      • Frederick E. McWilliam HRUA RA (1909 - 1992) Women of Belfast, No. 13 Bronze, 36cm long x 14cm high x 20cm deep (14_ x 5_ x 8''), edition of 5 Provenance: Purchased from Elizabeth Guinness in 1989 by the current owners; Collection of Finb
        Sep. 25, 2024

        Frederick E. McWilliam HRUA RA (1909 - 1992) Women of Belfast, No. 13 Bronze, 36cm long x 14cm high x 20cm deep (14_ x 5_ x 8''), edition of 5 Provenance: Purchased from Elizabeth Guinness in 1989 by the current owners; Collection of Finb

        Est: €10,000 - €15,000

        Frederick E. McWilliam HRUA RA (1909 - 1992) Women of Belfast, No. 13 Bronze, 36cm long x 14cm high x 20cm deep (14_ x 5_ x 8''), edition of 5 Provenance: Purchased from Elizabeth Guinness in 1989 by the current owners; Collection of Finbarr & Moyra O'Donovan Working in seriesÕ is not unique to McWilliam, artists often fixed upon one theme for a number of years, producing a range of work based around the same subject matter. This method of creation often acted as a way of working through an idea, by making repeated works of a single form, in McWilliams case the female body. His Women of Belfast series (1972 - 1975) changed over the course of the three years, his initial figures were unclothed, he later added the drapery for a more realistic effect. As a response to the sectarian violence of ÔThe TroublesÕ, McWilliams figure of a woman thrown to the ground in the aftermath of an explosion represents the scores of civilian casualties in Northern Ireland. An exhibition of the entire series including No. 13 was held at the Waddington Gallery, Cork Street in London in 1973. His inspiration for the work came from images in the media following the bombing of Abercorn restaurant in Belfast in March 1972. Of the two fatalities, both were women, which may indicate why McWilliam decided to depict the female casualties rather than male. Equally, the series was an expression of how often in times of conflict, it is women and children who become victims of these senseless atrocities. The female figures act as a representation of the private domestic world which has been forcefully intruded upon by these public acts of violence. As sensitive as the subject matter is it always difficult to reflect on the aesthetic qualities of the work. The sculptures are in many ways profoundly tragic, yet art at its most powerful should be emotive and it raises the difficult question of how, as an artist, to respond to this suffering. In the work McWilliam is bearing witness to these victims. In this present example, the figure is captured by McWilliam, just at the moment before her body hits the ground. She is thrown backwards, one leg extending out before her the other bent at the knee, bracing herself against the blast. Her shoe hangs precariously off her extended leg. The base for the figure is delineated in such a way as to create an almost a two dimensional impression of the body above, a sense of depth below her into which she will inevitably fall. The texture of the bronze captures the force of the explosion, her dress flattened against her body, hands raised instinctively to protect her head and face. The indecency and complete violation of her body is expressed by her dress lifted almost beyond her waist. McWilliam had never before used his sculpture to directly comment on political or social issues of his country of birth, but moved by the tragedy he felt compelled to create the series, which after nearly fifty years since its inception, holds an undeniable power. Niamh Corcoran

        Adam's
      • Frederick E. McWilliam HRUA RA (1909 - 1992) Forwards (1975) Bronze, 39 x 24 x 12cm (15¼ x 9½ x 4¾) Signed with initials and No. 1/5 Provenance: A private Belfast Collection Exhibited: London, Waddington Galleries, 1975, 'F. E. McWilliam'
        May. 29, 2024

        Frederick E. McWilliam HRUA RA (1909 - 1992) Forwards (1975) Bronze, 39 x 24 x 12cm (15¼ x 9½ x 4¾) Signed with initials and No. 1/5 Provenance: A private Belfast Collection Exhibited: London, Waddington Galleries, 1975, 'F. E. McWilliam'

        Est: €8,000 - €12,000

        Frederick E. McWilliam HRUA RA (1909 - 1992) Forwards (1975) Bronze, 39 x 24 x 12cm (15¼ x 9½ x 4¾) Signed with initials and No. 1/5 Provenance: A private Belfast Collection Exhibited: London, Waddington Galleries, 1975, 'F. E. McWilliam' Literature: 'The Sculpture of F.E. McWilliam' by Denise Ferran, catalogue Raisonne No. 412, Illus. p.160

        Adam's
      • Frederick E. McWilliam HRUA RA (1909 - 1992) Backwards (1975) Bronze, 30 x 20 x 9cm (11¾ x 8 x 3½) Signed with initials and numbered 1/5 Provenance: A private Belfast Collection Exhibited: Banbridge, the F.E. McWilliam Museum, Sept. 2008 -
        May. 29, 2024

        Frederick E. McWilliam HRUA RA (1909 - 1992) Backwards (1975) Bronze, 30 x 20 x 9cm (11¾ x 8 x 3½) Signed with initials and numbered 1/5 Provenance: A private Belfast Collection Exhibited: Banbridge, the F.E. McWilliam Museum, Sept. 2008 -

        Est: €6,000 - €10,000

        Frederick E. McWilliam HRUA RA (1909 - 1992) Backwards (1975) Bronze, 30 x 20 x 9cm (11¾ x 8 x 3½) Signed with initials and numbered 1/5 Provenance: A private Belfast Collection Exhibited: Banbridge, the F.E. McWilliam Museum, Sept. 2008 - Feb. 2009; Drogheda, Highlanes Gallery Feb - April 2009 Literature: 'F.E. McWilliam at Banbridge' 2008 by Denise Ferran, Illus. p.106; 'The Sculpture of F.E. McWilliam' by Denise Ferran, catalogue Raisonne No. 413 F.E. McWilliam felt impelled to respond to the events of the early 1970s in Northern Ireland, although he was living in London; the Banners series evoked a populace trying to find a way through this period, sometimes desperate, sometimes angry, occasionally comic. Forwards and Backwards, have a wry resonance even today.

        Adam's
      • Frederick Edward McWilliam RA HRUA (1909-1992) MATRIARCH, 1982
        May. 27, 2024

        Frederick Edward McWilliam RA HRUA (1909-1992) MATRIARCH, 1982

        Est: €80,000 - €100,000

        Frederick Edward McWilliam RA HRUA (1909-1992) MATRIARCH, 1982 bronze from plaster; (no. 2 from an edition of 3) signed with initials and numbered on base h:79  w:27 d:18 in. Exhibited: 'F. E. McWilliam: Early Sculptures 1935-48, with some recent works', Warwick Arts Trust, London, June 1982 (in plaster state); 'F. E. McWilliam', Mayor Gallery, London, 3 May to 3 June 2006; 'McWilliam at Banbridge', F. E. McWilliam Gallery & Studio, Banbridge, September 2008 to February 2009 (illustrated p. 49 of exhibition catalogue); 'F. E. McWilliam at Banbridge', Highlanes Gallery, Drogheda, February to April 2009 After graduating from the Slade School of Art in London and having won the Robert Ross travelling scholarship in 1931 F. E. McWilliam went to Paris with fellow Slade student Beth Crowther. Their intention was to make their lives as artists in Paris but with the subsequent collapse of sterling both could no longer afford to remain in France. After their marriage the following year in March 1932 they rented a house in Chartridge, Buckinghamshire where he concentrated on sculpture, carving from Cherrywood, Beech, Elm and Sycamore, wood which was easily available in the orchard and woodland around their home. The influence of Surrealism is evident in these early sculptures as in Cherrywood Figure,1934, which depicts the human figure in simplified form, where the spaces in the figure are as suggestive as the solids. Matriarch,1935, belongs to this period of figures carved from Cherrywood, where McWilliam’s regard for the material dictates the rounded thighs and knees, the simplified head, the rounded breasts and shoulders with a void in the centre providing movement to the static figure. The human form remains constant in McWilliam’s work, even in his most abstract works. He had moved from Buckinghamshire to Steele’s Road, Hampstead in 1936 close to Parkhill Road Studios where Henry Moore, Herbert Read, Ben Nicholson and Barbara Hepworth lived and worked. Roland Penrose and Paul Nash, who became close friends, lived close by as did W.J. Leech in Steele’s Studios. It was an art inspiring area. The following year he visited Hoptonwood Quarry in Derbyshire with his former sculptor tutor at the Slade, A.H. Gerrard and Henry Moore which inevitably resulted in McWilliam carving in Hoptonwood and Portland stone. Later in the year he moved to his newly built home and studio in New Malden where his daughter Sarah was born shortly afterwards and then two years later in 1939, his daughter Bridget was born which can only have reinforced the theme Matriarch. He began his association with the Surrealists and had his first one-person exhibition at the London Gallery, showing sculpture and monoprints which he was introduced to by the Belfast artist John Luke. It appeared that McWilliam was now on a steady path as a noteworthy sculptor, except the outbreak of the second World War ended that and McWilliam joined the Royal Air Force in which his photography was used to interpret reconnaissance missions. On his return from the war, he returned to his love, sculpture, carving in wood but also in new materials, especially concrete and terracotta but he maintained his ongoing theme, the human figure, as Reclining Figure, in terracotta,1946. He returned to the theme of the Matriarch in a small work, Study Matriarch, in bronze from a plaster edition in 1951. The figure is delineated with crouched legs with an open format of arms and on top a small head. The same year he created Matriarch (Solitary Woman without Children), made of iron and plastic metal which he exhibited at the Hanover Gallery in 1952 and the Whitechapel Gallery in 1953. Again, he produces, in a much larger scale 7ft tall, a similarly depicted figure but with a small figure of an adult holding the hand of a child in the space between the outlined arms. The expression on the face of the woman embraces her longing for a child which she will never have. For whatever reason this work was destroyed but McWilliam produced Matriarch 11 in plaster in 1958, which had a crescent moon shape for a head but with a solid chest instead of the void in the iron and plastic figure of Matriarch,1951. This work he never cast but in 1982 he returned to the same theme, producing Matriarch in plaster which he cast in Bronze Art, Dublin in an edition of 3. The present work, illustrated, is over 6ft tall and similar to Study Matriarch, cast in bronze, 1951. It was exhibited at the Warwick Arts Trust, London but in its plaster state but it was cast in bronze for his exhibition in the Mayor Gallery. This work was included in the inaugural exhibition at the F.E. McWilliam Gallery, Banbridge and at the Highlanes Gallery in Drogheda, which I was fortunate enough to curate and to be involved in the design and completion of both galleries in 2008. Dr Denise Ferran, April 2024

        Whyte's
      • Twisted Form
        May. 02, 2024

        Twisted Form

        Est: €12,000 - €15,000

        Frederick Edward McWilliam, R.A. 1909 - 1992 Twisted Form signed with initials by the base cherrywood on a stone base height: 58 cm.; 22 3/4 in. Executed in 1935. ---------------------------------------------- Frederick Edward McWilliam, R.A. 1909 - 1992 Twisted Form signé avec initiales à bas bois de cherisier sur socle en pierre hauteur: 58 cm.; 22 3/4 in. Exécuté en 1935.

        Sotheby's
      • λ FREDERICK EDWARD MCWILLIAM (BRITISH 1909-1992), UMBILICUS STUDY
        Mar. 13, 2024

        λ FREDERICK EDWARD MCWILLIAM (BRITISH 1909-1992), UMBILICUS STUDY

        Est: £3,000 - £5,000

        λ FREDERICK EDWARD MCWILLIAM (BRITISH 1909-1992)UMBILICUS STUDYBronzeSigned and numbered 3/5Height: 24cm (9¼ in.)Conceived in 1977.Literature:Roland Penrose et.al., McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.110 (illustration of another cast)Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, cat. no.450, p.165 (illustration of another cast)

        Dreweatts 1759 Fine Sales
      • Frederick Edward McWilliam RA HRUA (1909-1992) TRIAD, 1959
        Dec. 04, 2023

        Frederick Edward McWilliam RA HRUA (1909-1992) TRIAD, 1959

        Est: €8,000 - €12,000

        Frederick Edward McWilliam RA HRUA (1909-1992) TRIAD, 1959 bronze with grey and blue patina; (unique) h:43.50  w:25.50 d:8 in. Provenance: Pyms Gallery; Private collection

        Whyte's
      • Frederick Edward McWilliam (British, 1909-1992) Hollow Head 36.9 cm (14 1/2 in.) high (Conceived in 1960)
        Jul. 12, 2023

        Frederick Edward McWilliam (British, 1909-1992) Hollow Head 36.9 cm (14 1/2 in.) high (Conceived in 1960)

        Est: £5,000 - £7,000

        Frederick Edward McWilliam (British, 1909-1992) Hollow Head signed with initials and numbered 'MCW/3/5' (on the back of the head) bronze with a black patina 36.9 cm (14 1/2 in.) high Conceived in 1960

        Bonhams
      • Frederick Edward McWilliam RA HRUA (1909-1992) BIRDWATCHER, 1964
        May. 29, 2023

        Frederick Edward McWilliam RA HRUA (1909-1992) BIRDWATCHER, 1964

        Est: €8,000 - €12,000

        Frederick Edward McWilliam RA HRUA (1909-1992) BIRDWATCHER, 1964 bronze with black patina; (no. 1 from an edition of 5) signed and numbered on base h:10  w:6 d:5 in.

        Whyte's
      • Frederick Edward McWilliam RA HRUA (1909-1992) JOY THROUGH STRENGTH, 1966
        May. 29, 2023

        Frederick Edward McWilliam RA HRUA (1909-1992) JOY THROUGH STRENGTH, 1966

        Est: €2,500 - €3,500

        Frederick Edward McWilliam RA HRUA (1909-1992) JOY THROUGH STRENGTH, 1966 bronze; (artist's proof from an edition of 5) signed with initials on underside h:7  w:7 d:4 in. Provenance: Waddington Galleries, London, 1966; Thence by descent; Mellors and Kirk, Nottingham, 27 June 2019, lot 713; Private collection Literature: Denise Ferran and V Holman, The Sculpture of F E McWilliam, 2012, catalogue no. 303

        Whyte's
      • Frederick Edward McWilliam HRUA RA (1909-1992) Waking Up Figure (1962)
        Apr. 18, 2023

        Frederick Edward McWilliam HRUA RA (1909-1992) Waking Up Figure (1962)

        Est: €8,000 - €12,000

        Frederick Edward McWilliam HRUA RA (1909-1992) Waking Up Figure (1962) bronze - number 4 from an edition of 5 signed with initials and numbered 'MCW 4/5' Conceived in 1962 h:23  w:26 d:19 cm. Provenance: The Redfern Gallery, London 2001 where purchased by the present owner Exhibited: London, Waddington Galleries, F.E. McWilliam, 28 May-22 June 1963, cat.no.16 (another cast); Hillsborough, Co. Down, Art Centre, 1971 (another cast); London, Tate Gallery, F.E. McWilliam Sculpture 1932-1989, 10 May-9 July 1989, cat.no.46 (another cast) Literature: Roland Penrose, McWilliam, Alec Tiranti, London, 1964, cat.no.136 (another cast ill.); Denise Ferran and Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries, Surrey, 2012, p.137. cat.no.251 (another cast ill.b&w)

        Morgan O'Driscoll
      • FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Triad bronze with a grey and
        Mar. 22, 2023

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Triad bronze with a grey and

        Est: £15,000 - £25,000

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Triad bronze with a grey and green patina 44 in. (111.8 cm.) high

        Christie's
      • Frederick Edward McWilliam (British, 1909-1992) Hollow Head 36.9 cm. (14 1/2 in.) high (Conceived in 1960)
        Nov. 22, 2022

        Frederick Edward McWilliam (British, 1909-1992) Hollow Head 36.9 cm. (14 1/2 in.) high (Conceived in 1960)

        Est: £7,000 - £10,000

        Frederick Edward McWilliam (British, 1909-1992) Hollow Head signed with initials and numbered 'MCW/3/5' (on the back of the head) bronze with a black patina 36.9 cm. (14 1/2 in.) high Conceived in 1960

        Bonhams
      • Frederick Edward McWilliam HRUA RA (1909-1992) Maquette for Homer
        Apr. 26, 2022

        Frederick Edward McWilliam HRUA RA (1909-1992) Maquette for Homer

        Est: €5,000 - €7,000

        Frederick Edward McWilliam HRUA RA (1909-1992) Maquette for Homer unique resin on a limestone base h:35.50  w:17 d:17 cm. Provenance: Christie's, London, 9th November 1990, lot 354; Alan Wray Gallery, Belfast; Private Collection Literature: Belfast, Ulster Museum, 1981, no.30; Ferrand-Holman 169 Banbridge-born FE McWilliam was a highly capable sculptor with a strongly independent vision. Having belatedly opted to study sculpture rather then, as he intended, painting, a visit to Brancusi's studio in Paris encouraged the development of his own artistic personality. Fluent as both carver and modeller, portraiture and allegorical representation were his dominant modes of expression. He made several studies for his sculpture of Homer at Belfast City Hospital in 1958 (another, closely related version went to the Bumpus Bookstore in Marylebone, London which opened that year).

        Morgan O'Driscoll
      • Frederick Edward McWilliam Girl Stretching Bronze with dark patination, 40.6 cm long x 18cm high Signed with initials, no. 3/5 Provenance: The Artist; With New Art Centre, 41 Sloane Street, London SW1, from whom purchased January 1989
        Mar. 30, 2022

        Frederick Edward McWilliam Girl Stretching Bronze with dark patination, 40.6 cm long x 18cm high Signed with initials, no. 3/5 Provenance: The Artist; With New Art Centre, 41 Sloane Street, London SW1, from whom purchased January 1989

        Est: €8,000 - €12,000

        Frederick Edward McWilliam Girl Stretching Bronze with dark patination, 40.6 cm long x 18cm high Signed with initials, no. 3/5 Provenance: The Artist; With New Art Centre, 41 Sloane Street, London SW1, from whom purchased January 1989

        Adam's
      • Frederick E. McWilliam HRUA RA (1909 - 1992) Study for 'Princess Macha of the Golden Hair of the House of Ulster Resin, 19.5 x 29 x 49cm high (7¾ x 11½ x 19¼'') Raised on black marble base, 23 x 17 x 4cm (9 x 6¾ x 1½'') Provenance: With James W
        Mar. 30, 2022

        Frederick E. McWilliam HRUA RA (1909 - 1992) Study for 'Princess Macha of the Golden Hair of the House of Ulster Resin, 19.5 x 29 x 49cm high (7¾ x 11½ x 19¼'') Raised on black marble base, 23 x 17 x 4cm (9 x 6¾ x 1½'') Provenance: With James W

        Est: €4,000 - €6,000

        Frederick E. McWilliam HRUA RA (1909 - 1992) Study for 'Princess Macha of the Golden Hair of the House of Ulster Resin, 19.5 x 29 x 49cm high (7¾ x 11½ x 19¼'') Raised on black marble base, 23 x 17 x 4cm (9 x 6¾ x 1½'') Provenance: With James Wray Gallery, Belfast, where purchased by the current owner. In 1957 F. E. McWilliam was commissioned to make a bronze sculpture of Princess Macha to stand outside Britain's first National Health Hospital, situated at Altnagelvin a few miles outside Derry, which was opened to the public in February 1960. The details of the subject, the Celtic goddess Macha, were stipulated by the Northern Ireland Hospital's Authority. Macha was reputed to have founded the first hospital in Ireland at Eamhain Mhacha in 300BC. A dove, a symbol of St Colmcille who built Derry's first infirmary at his monastery in the 6th century, sits on one of her hands and of course also symbolises Peace. At first the piece caused a public outcry but it later became a talisman for the hospital, greatly loved by patients, visitors and staff alike. The hospital was designed by the architect Eugene Rosenberg who was later to become a close friend and patron of McWilliam. McWilliam produced numerous studies and maquettes in preparation for the full size version and the present lot is one such resin maquette.

        Adam's
      • Frederick Edward McWilliam (British, 1909-1992) Lying Down Figure 68.6 cm. (27 1/2 in.) wide (Conceived in 1961)
        Nov. 24, 2021

        Frederick Edward McWilliam (British, 1909-1992) Lying Down Figure 68.6 cm. (27 1/2 in.) wide (Conceived in 1961)

        Est: £20,000 - £30,000

        Frederick Edward McWilliam (British, 1909-1992) Lying Down Figure signed with initials and numbered 'MCW/1/5' (on the back of the right leg) bronze with a green/brown patina 68.6 cm. (27 1/2 in.) wide Conceived in 1961 For further information on this lot please visit the Bonhams website

        Bonhams
      • Frederick Edward McWilliam RA (1909-1992) Girl and Her Shadow (1969)
        Oct. 26, 2021

        Frederick Edward McWilliam RA (1909-1992) Girl and Her Shadow (1969)

        Est: €10,000 - €15,000

        Frederick Edward McWilliam RA (1909-1992) Girl and Her Shadow (1969) bronze - polished, brown patina - artist's proof signed MCW-A/P h:31.50  w:12 d:13 cm. Provenance: Christies 7th March 1997, Lot 491, where purchased by the present owner

        Morgan O'Driscoll
      • § FREDERICK EDWARD MCWILLIAM C.B.E. R.A. (BRITISH 1909-1992) WOMAN OF BELFAST
        Apr. 30, 2021

        § FREDERICK EDWARD MCWILLIAM C.B.E. R.A. (BRITISH 1909-1992) WOMAN OF BELFAST

        Est: £600 - £800

        21/90, signed and numbered in pencil (in the margin), screenprint (Dimensions: 46cm x 58cm (18.1in x 22.75in)) (46cm x 58cm (18.1in x 22.75in))

        Lyon & Turnbull
      • Frederick Edward McWilliam RA (1909-1992) The Judo Players
        Oct. 27, 2020

        Frederick Edward McWilliam RA (1909-1992) The Judo Players

        Est: €12,000 - €16,000

        Frederick Edward McWilliam RA (1909-1992) The Judo Players bronze - numbered 1 from an edition of 5 signed and numbered 1/5 h:38  w:30 d:21 cm. Provenance: Private Collection

        Morgan O'Driscoll
      • Frederick Edward McWilliam, A.R.A. (1909-1992) - Seated Woman II
        Sep. 29, 2020

        Frederick Edward McWilliam, A.R.A. (1909-1992) - Seated Woman II

        Est: £10,000 - £15,000

        Frederick Edward McWilliam, A.R.A. (1909-1992) Seated Woman II bronze with a golden brown patina 15 ¼ in. (38.7 cm.) long

        Christie's
      • FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) - Axehead
        Jan. 22, 2020

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) - Axehead

        Est: £60,000 - £80,000

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Axehead signed with initials ‘McW.’ (at the base) cherry, unique 21 in. (53.4 cm.) high, excluding base Carved in 1935. PROVENANCE: with Waddington Galleries, London. with Mayor Gallery, London, where purchased by the present owner. EXHIBITED: Colchester, Arts Council of Great Britain, The Minories, A Salute to British Surrealism 1930-1950, April - May 1985, no. 39: this exhibition travelled to London, Blond Fine Art, May - June 1985; and Hull, Ferens Art Gallery, July - August 1985. Suomi, Retretti Art Centre, Surrealismi - Surrealism, May - September 1987, catalogue not traced. London, Tate Gallery, F.E. McWilliam: Sculpture 1932-1989, May - July 1989, no. 6. Dublin, The Soloman Gallery, F.E. McWilliam 1909-1992, August 1995, exhibition not numbered. LITERATURE: M. Gooding, exhibition catalogue, F.E. McWilliam: Sculpture 1932-1989, London, Tate Gallery, 1989, p. 36, no. 6, illustrated. Exhibition catalogue, F.E. McWilliam 1909-1992, Dublin, The Soloman Gallery, 1995, n.p., exhibition not numbered, illustrated. D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 89, no. 18.

        Christie's
      • FREDERICK EDWARD MCWILLIAM, R.A. (1909-1992) - Roman Matron
        Jan. 22, 2020

        FREDERICK EDWARD MCWILLIAM, R.A. (1909-1992) - Roman Matron

        Est: £50,000 - £80,000

        FREDERICK EDWARD MCWILLIAM, R.A. (1909-1992) Roman Matron signed with initials 'McW' (on the drapery behind the leg) elmwood, unique 39 1/2 in. (100.3 cm.) high, excluding base Carved in 1948. PROVENANCE: with Whitford and Hughes, London. Purchased by the present owner at the 1994 exhibition. EXHIBITED: London, Hanover Gallery, F.E. McWilliam: Recent Sculpture, October - November 1949, no. 9, as 'Reclining Woman'. Bournemouth, Russell-Cotes Gallery, Contemporary Sculpture, 1952, catalogue not traced. London, Tate Gallery, F.E. McWilliam: Sculpture 1932-1989, May - July 1989, no. 32. London, Faggionato Fine Arts, Surrealist Sculptures, October - December 1994, exhibition not numbered. LITERATURE: Sphere, 5 November 1949, illustrated. The Times, 18 October 1949, illustrated. Architect, 21 October 1949. Picture Post, 29 October 1949. Daily Telegraph, 29 October 1949. Illustrated London News, 3 December 1949, illustrated. M. Gooding, exhibition catalogue, F.E. McWilliam: Sculpture 1932-1989, London, Tate Gallery, 1989, pp. 27, 49, no. 32, illustrated. Exhibition catalogue, Surrealist Sculptures, London, Faggionato Fine Arts, 1994, n.p., exhibition not numbered, illustrated. D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 106, no. 58.

        Christie's
      • Frederick Edward McWilliam, A.R.A. (1909-1992) Walnut Wood Carving walnut, unique 12 ¾ in. (32.4 cm.) excluding base
        Jan. 21, 2020

        Frederick Edward McWilliam, A.R.A. (1909-1992) Walnut Wood Carving walnut, unique 12 ¾ in. (32.4 cm.) excluding base

        Est: £60,000 - £80,000

        Frederick Edward McWilliam, A.R.A. (1909-1992) Walnut Wood Carving signed with initials 'McW' (at the base) walnut, unique 12 ¾ in. (32.4 cm.) excluding base Carved in 1936.

        Christie's
      • FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992)
        Dec. 03, 2019

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992)

        Est: £7,000 - £10,000

        FREDERICK EDWARD MCWILLIAM, A.R.A. (1909-1992) Birdwatcher I bronze with a black patina 25 cm (10 in) high Conceived in 1964 Provenance: with Waddington Galleries, London, details untraced  Florence Lindon-Travers and by descent. Literature: D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 140, no. 274, another cast illustrated. J. Marle, T.P. Flanagan, F.E. McWilliam, Arts Council of Northern Ireland, 1981, pp. 52, no. 65, another cast illustrated. We are grateful to Sarah Gretton and Dr Riann Coulter for the assistance in cataloguing this lot.  'We are used to one idea, worked at obsessionally, but McWilliam's imagination is diverse, ignites at different levels… Recurringly characteristic of all his work is its thin elegance its lightness and delicacy’’ Bryan Robertson, quoted in D. Ferran and V. Holman, The Sculpture of F.E. McWilliam, Farnham, 2012, p. 58 Most famous for her role in Alfred Hitchcock’s 1939 The Lady Vanishes. Better known as Linden Travers, Florence Lindon Travers was one of the leading actresses of the British cinema in the 1930s and 40s. She played both femme fatale and comedic roles. In 1962, along with her sisters Alice and Pearl she opened The Travers Gallery in Kensington.

        Chiswick Auctions
      • Frederick Edward McWilliam, A.R.A. (1909-1992) - Skull
        Nov. 21, 2019

        Frederick Edward McWilliam, A.R.A. (1909-1992) - Skull

        Est: £3,000 - £5,000

        Frederick Edward McWilliam, A.R.A. (1909-1992) Skull ink on paper 9 ¾ x 6 ½ in. (24.8 x 16.5 cm.) (shaped)

        Christie's
      • Frederick Edward McWilliamStudies for SculptureWatercolour, 28 x 40.5 cm (11 x 16)
        Oct. 23, 2019

        Frederick Edward McWilliamStudies for SculptureWatercolour, 28 x 40.5 cm (11 x 16)

        Est: €1,500 - €2,000

        Frederick Edward McWilliamStudies for SculptureWatercolour, 28 x 40.5 cm (11 x 16)

        Adam's
      • Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast, a StudyWatercolour, 17 x 32cm (6¾ x 12½)Signed and dated (19)'74Illustrated in Patrick J. Murphy, 'A Passion for Collecting: A Memoir', 2012, illustrated p.114.
        Oct. 23, 2019

        Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast, a StudyWatercolour, 17 x 32cm (6¾ x 12½)Signed and dated (19)'74Illustrated in Patrick J. Murphy, 'A Passion for Collecting: A Memoir', 2012, illustrated p.114.

        Est: €1,500 - €2,000

        Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast, a StudyWatercolour, 17 x 32cm (6¾ x 12½)Signed and dated (19)'74Illustrated in Patrick J. Murphy, 'A Passion for Collecting: A Memoir', 2012, illustrated p.114.

        Adam's
      • F.E McWilliam (1909 - 1992)Lazarus and his sister Pen, ink and wash, 51 x 38cmProvenance: With the Solomon Gallery, Dublin, label verso
        Sep. 25, 2019

        F.E McWilliam (1909 - 1992)Lazarus and his sister Pen, ink and wash, 51 x 38cmProvenance: With the Solomon Gallery, Dublin, label verso

        Est: €800 - €1,200

        F.E McWilliam (1909 - 1992)Lazarus and his sister Pen, ink and wash, 51 x 38cmProvenance: With the Solomon Gallery, Dublin, label verso

        Adam's
      • F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 51 x 38cm Signed Provenance: With the Solomon Gallery, Dublin, label verso
        Sep. 25, 2019

        F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 51 x 38cm Signed Provenance: With the Solomon Gallery, Dublin, label verso

        Est: €800 - €1,200

        F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 51 x 38cm Signed Provenance: With the Solomon Gallery, Dublin, label verso

        Adam's
      • F.E McWilliam (1909 - 1992)UntitledMonotype drawing no. 5Charcoal on paper, 40 x 25cmProvenance: With the Solomon Gallery, Dublin, label verso
        Sep. 25, 2019

        F.E McWilliam (1909 - 1992)UntitledMonotype drawing no. 5Charcoal on paper, 40 x 25cmProvenance: With the Solomon Gallery, Dublin, label verso

        Est: €600 - €800

        F.E McWilliam (1909 - 1992)UntitledMonotype drawing no. 5Charcoal on paper, 40 x 25cmProvenance: With the Solomon Gallery, Dublin, label verso

        Adam's
      • F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 31 x 39cmSigned Provenance: With the Solomon Gallery, Dublin, label verso
        Sep. 25, 2019

        F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 31 x 39cmSigned Provenance: With the Solomon Gallery, Dublin, label verso

        Est: €600 - €800

        F.E McWilliam (1909 - 1992)Study of Sculpture, 1934Monotype drawing, 31 x 39cmSigned Provenance: With the Solomon Gallery, Dublin, label verso

        Adam's
      • AR Frederick Edward McWilliam (British, 1909-1992) Reclining figure 35 cm. (13 3/4 in.) long
        Jul. 03, 2019

        AR Frederick Edward McWilliam (British, 1909-1992) Reclining figure 35 cm. (13 3/4 in.) long

        Est: £5,000 - £7,000

        Frederick Edward McWilliam (British, 1909-1992) Reclining figure stamped with initials 'MCW' (on the upper back)bronze with a dark brown patina35 cm. (13 3/4 in.) longConceived in 1960 in an edition of 5 Provenance: With The Waddington Galleries, LondonPrivate Collection, U.K. Exhibited: London, The Waddington Galleries, F.E. McWilliam, 9 February-4 March 1961, cat.no.26 (another cast)Antwerp, Open-Air Museum, 6th Biennale, 15 July-15 October 1961 (another cast) Literature: Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.131, cat.no.215 (ill.b&w, another cast)Roland Penrose, McWilliam, Alec Tiranti, London, 1964 (ill., another cast)Please note that this lot is accompanied by a marble base.

        Bonhams
      • Frederick Edward McWilliam RA (1909-1992)Leg Figure (1977)Bronze, 25.5 x 22cm (10 x 8.75)Signed with initials and numbered 1/5Provenance: Private Collection, Dublin.After ‘Women of Belfast’ and ‘Woman in a Bomb-blast’ and the Banners series,
        Mar. 27, 2019

        Frederick Edward McWilliam RA (1909-1992)Leg Figure (1977)Bronze, 25.5 x 22cm (10 x 8.75)Signed with initials and numbered 1/5Provenance: Private Collection, Dublin.After ‘Women of Belfast’ and ‘Woman in a Bomb-blast’ and the Banners series,

        Est: €6,000 - €10,000

        Frederick Edward McWilliam RA (1909-1992)Leg Figure (1977)Bronze, 25.5 x 22cm (10 x 8.75)Signed with initials and numbered 1/5Provenance: Private Collection, Dublin.After ‘Women of Belfast’ and ‘Woman in a Bomb-blast’ and the Banners series, McWilliam began his series of Legs in 1977. It must have been a relief for the sculptor to turn from the deeply emotional subject matter of the Troubles to the beauty and playfulness of women’s Legs. In fact, McWilliam had begun ‘One pair of Legs’ and ‘Two pairs of Legs’ in 1971, before he began ‘Women of Belfast’ and these legs informed his women caught in a bomb-blast and thrown off balance. Legs allowed McWilliam the freedom to model legs and attach these to different bodies and heads, such as a fish head resulting in the surrealist figure ‘Lady into Fish’ and ‘Magrittes Mermaid’ or ‘Legs with fig-leaf’. One of this series was ‘Leg Figure D’ which was included in the Tate retrospective exhibition of 1989. Patrick Heron wrote to McWilliam after visiting the Tate retrospective of his friends work: I was fascinated by the hands and feet in all those 70s figures. Nobody else in this country has been able to do hands and feet like yours. McWilliam had countless drawings of women’s feet and legs and collected large advertising posters for women’s stockings, which hung on his studio wall. The sculptor can achieve such expression and feeling in splayed toes and outstretched legs, as in ‘Leg Figure D’ which resulted in Herons admiring observation. The Leg series continued from 1977 until 1981, ending with Ms Orissa which combined ‘Legs Upended’ with a clothed head and shoulders, again masking identification. This series resulted in two large sculptures ‘Umbilicus’, FE McWilliam Gallery and the large sculpture of the ‘Judo Players’, Derry City Council. Dr Denise Ferran

        Adam's
      • Merlyn Oliver Evans (1910-1973); F E McWilliam (1909-1992) St Ives Beach; Women of Belfast
        Mar. 05, 2019

        Merlyn Oliver Evans (1910-1973); F E McWilliam (1909-1992) St Ives Beach; Women of Belfast

        Est: £200 - £300

        Merlyn Oliver Evans (1910-1973); F E McWilliam (1909-1992) St Ives Beach; Women of Belfast Two lithographs printed in colours, 1973, each signed and numbered from the edition of 90 in pencil, each on wove paper, from the Penwith Portfolio, printed by Curwen Studio, London, published by Penwith Galleries Ltd, each the full sheet, the larger image 508 x 724mm (20 x 29in) (unframed) (2) This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

        Forum Auctions - UK
      • Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast 10 - Woman in a Bomb Blast (1972)Bronze, 22cm long x 13.5cm high x 9cm deep (8½ x 5¼ x 3½'')Signed and numbered 1/5(The plaster maquette, collection of F.E.McWilliam Gallery and Studio, B
        Dec. 05, 2018

        Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast 10 - Woman in a Bomb Blast (1972)Bronze, 22cm long x 13.5cm high x 9cm deep (8½ x 5¼ x 3½'')Signed and numbered 1/5(The plaster maquette, collection of F.E.McWilliam Gallery and Studio, B

        Est: €6,000 - €8,000

        Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast 10 - Woman in a Bomb Blast (1972)Bronze, 22cm long x 13.5cm high x 9cm deep (8½ x 5¼ x 3½'')Signed and numbered 1/5(The plaster maquette, collection of F.E.McWilliam Gallery and Studio, Banbridge.)Exhibited: Waddington 1973; McClelland 1973, cat. no. 10; Arts Councils of Ireland 1981, cat.no.106, illus. p. 72; Gordon Gallery 1990; Austin Desmond 1990; Banbridge 2008, exh. Cat., illus. p.101; Highlanes Gallery 2009.Literature: The Sculpture of F.E McWilliam, Denise Ferran & Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, no. 386, p. 156. When McWilliam began modelling in clay and casting in bronze, a new freedom entered the sculptor’s figurative work as in ‘Girls’ 1969 - 1971, ‘Women of Belfast’ 1972 - 1974, ‘Banners’ 1975 - 1976 and ‘Legs’ 1977 - 78. Although McWilliam left Ireland at age 18 and lived in London most of his life, he maintained close links with family and friends in Northern Ireland and the ‘troubles’ affected him deeply especially the bomb which exploded in the Abercorn restaurant in Belfast, March 1972. McWilliam wrote in July 1973 that his ‘Women of Belfast’ ‘are concerned with violence, with one particular aspect, bomb-blast - the women as victim of man’s stupidity. …As they have a common subject matter these sculptures have no titles - woman affected by violence - women of Belfast.’ It was significant for McWilliam that the two deaths, that day, were women as were many of the seriously injured. He uses the drapery of these unfortunate and unsuspecting victims, to emphasise the impact of the blast, reminiscent of the Greek figure, Nike of Samothrace. His drawing ability, honed by his student days at the Slade in London, are evident in the outstretched limbs, fingers and toes which express human suffering while the faces remain anonymous. In 1973 McWilliam wrote about these works: ‘The figures are small because it was more convenient to make them small…..If you have something to say it makes no difference whether you whisper or shout, so long as it is audible.’ Dr Denise FerranNovember 2018

        Adam's
      • Frederick E. McWilliam HRUA RA (1909-1992)Leg Figure D (1977)Bronze, 29.5cm high x 26cm wide x 9.5cm deep (11½ x 10¼ x 3¾'')Signed with initials and numbered 5/5Exhibited Taylor Galleries, 1979; Arts Councils of Ireland, 1981, cat. illus. p.86;
        Dec. 05, 2018

        Frederick E. McWilliam HRUA RA (1909-1992)Leg Figure D (1977)Bronze, 29.5cm high x 26cm wide x 9.5cm deep (11½ x 10¼ x 3¾'')Signed with initials and numbered 5/5Exhibited Taylor Galleries, 1979; Arts Councils of Ireland, 1981, cat. illus. p.86;

        Est: €8,000 - €12,000

        Frederick E. McWilliam HRUA RA (1909-1992)Leg Figure D (1977)Bronze, 29.5cm high x 26cm wide x 9.5cm deep (11½ x 10¼ x 3¾'')Signed with initials and numbered 5/5Exhibited Taylor Galleries, 1979; Arts Councils of Ireland, 1981, cat. illus. p.86; Tate 1989, cat., illus., p. 62; NAC 1989; Mayor Gallery 1990.Literature: The Sculpture of F.E.McWilliam, Denise Ferran & Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, 2012, no. 424, p. 161.After ‘Women of Belfast’ and ‘Woman in a Bomb-blast’ and the Banners series, McWilliam began his series of Legs in 1977. It must have been a relief for the sculptor to turn from the deeply emotional subject matter of the ‘Troubles’ to the beauty and playfulness of women’s ‘Legs’. In fact, McWilliam had begun ‘One pair of Legs’ and ‘Two pair of Legs’ in 1971, before he began ‘Women of Belfast’ and these legs informed his women caught in a bomb-blast and thrown off balance. ‘Legs’ allowed McWilliam the freedom to model legs and attach these to different bodies and heads, such as a fish head resulting in the surrealist figure ‘Lady into Fish’ and ‘Magritte’s Mermaid’ or ‘Legs with fig-leaf’. One of this series was ‘Leg Figure D’ which was included in the Tate retrospective exhibition of 1989. Patrick Heron wrote to McWilliam after visiting the Tate retrospective of his friend’s work: ‘I was fascinated by the hands and feet in all those 70’s figures. Nobody else in this country has been able to do hands and feet like yours.’ McWilliam had countless drawings of women’s feet and legs and collected large advertising posters for women’s stockings, which hung on his studio wall. The sculptor can achieve such expression and feeling in splayed toes and outstretched legs, as in ‘Leg Figure D’ which resulted in Heron’s admiring observation. The Leg series continued from 1977 until 1981, ending with ‘Ms Orissa’ which combined ‘Legs Upended’ with a clothed head and shoulders, again masking identification. This series resulted in two large sculptures ‘Umbilicus’, FEMcWilliam Gallery and the large sculpture of the ‘Judo Players’, Derry City Council. Dr Denise FerranNovember 2018

        Adam's
      • Frederick E. McWilliam HRUA RA (1909-1992)Peace B - Banner Series (1975)Bronze, 35cm high x 28.5cm wide x 16cm deep (13¾ x 11¼ x 6¼''), raised on a polished limestone baseSigned with initials and numbered 4/5(Plaster maquette, collection of F.E.M
        Dec. 05, 2018

        Frederick E. McWilliam HRUA RA (1909-1992)Peace B - Banner Series (1975)Bronze, 35cm high x 28.5cm wide x 16cm deep (13¾ x 11¼ x 6¼''), raised on a polished limestone baseSigned with initials and numbered 4/5(Plaster maquette, collection of F.E.M

        Est: €8,000 - €12,000

        Frederick E. McWilliam HRUA RA (1909-1992)Peace B - Banner Series (1975)Bronze, 35cm high x 28.5cm wide x 16cm deep (13¾ x 11¼ x 6¼''), raised on a polished limestone baseSigned with initials and numbered 4/5(Plaster maquette, collection of F.E.McWilliam Gallery and Studio, Banbridge.)Exhibitions: Gordon Gallery, Derry, 1987, cat. no. 10; Sotheby’s 1996; Solomon Gallery 1998.Literature: The Sculpture of F.E McWilliam, Denise Ferran & Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, 2012, no. 424, illus, p. 161 and fig. 44, p. 72.It was inevitable that McWilliam followed his series ‘Women of Belfast’ with his series of ‘Banners’ as he responded to events in Northern Ireland, with each series lasting no more than 3 years from the first idea to completion. Out of the carnage of the bombings and murders during the ‘Troubles’, grew the ‘Peace People’ and their ever-increasing number marched through the main towns of Northern Ireland, rallying people to join them in their call for ‘Peace’. This group was comprised mainly of women who did not want any other mother to lose their son or daughter. McWilliam, through his friendship with T.P. Flanagan’s wife, Sheelagh, who like me, had joined the ‘Peace People’, designed a Christmas card in 1974, which featured a lone woman, carrying a banner with the word ‘Peace’ written on it. The ‘Banners’ combined McWilliam’s delight in depicting the female form with his humour in developing the theme beyond the ‘Peace’ theme to those with a play on words ‘No Broken Province’ or ‘Up the Grass Roots’. The sculptor, from his early childhood in Banbridge, had witnessed vicious sectarian riots, which gave him a lifelong detestation of bigotry in any form and he resolved to leave Northern Ireland as soon as he could. By 1977, McWilliam had returned to his much more playful series of ‘Legs’ because he himself was aware that ‘The things you start a theme with are usually the best at the beginning. After a while a sort of repetition seems to set in….’ McWilliam in conversation with Louisa Buck for the Irish Art series, 1983, p.5 Tate Gallery Archive. In these two figures, apparently fighting one another with their Banners, one of which carries the word ‘Peace’. McWilliam uses their clothing, including head coverings to give movement and an angular power to the material, and, as always, carefully maintaining the anonymity of the subjects.Dr Denise FerranNovember 2018

        Adam's
      • AR Frederick Edward McWilliam (British, 1909-1992) Reclining figure 35 cm. (13 3/4 in.) long
        Nov. 14, 2018

        AR Frederick Edward McWilliam (British, 1909-1992) Reclining figure 35 cm. (13 3/4 in.) long

        Est: £7,000 - £10,000

        Frederick Edward McWilliam (British, 1909-1992) Reclining figure stamped with initials 'MCW' (on the upper back)bronze with a dark brown patina35 cm. (13 3/4 in.) longConceived in 1960 in an edition of 5 Provenance: With The Waddington Galleries, LondonPrivate Collection, U.K.ExhibitedLondon, The Waddington Galleries, F.E. McWilliam, 9 February-4 March 1961, cat.no.26 (another cast)Antwerp, Open-Air Museum, 6th Biennale, 15 July-15 October 1961 (another cast) LiteratureDenise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.131, cat.no.215 (ill.b&w, another cast)Roland Penrose, McWilliam, Alec Tiranti, London, 1964 (ill., another cast)The present work is accompanied by a marble base.

        Bonhams
      • AR Frederick Edward McWilliam (British, 1909-1992) Women of Belfast 3 (Women of Belfast I) 18 cm. (7 1/8 in.) long
        Nov. 14, 2018

        AR Frederick Edward McWilliam (British, 1909-1992) Women of Belfast 3 (Women of Belfast I) 18 cm. (7 1/8 in.) long

        Est: £8,000 - £12,000

        Frederick Edward McWilliam (British, 1909-1992) Women of Belfast 3 (Women of Belfast I) signed with initials and numbered 'MCW 3/5' (underneath)bronze with a brown patina18 cm. (7 1/8 in.) longConceived in 1971 Provenance: Cyril and June MardallExhibitedLondon, Waddington Galleries, Woman of Belfast: New Bronzes by F.E. McWilliam, October-November 1973 (another cast)Belfast, McClelland Galleries International, Woman of Belfast: New Bronzes by F.E. McWilliam, 1972-73, November 1973, cat.no.3 (another cast)LiteratureDenise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.155, cat.no.379

        Bonhams
      • FREDERICK EDWARD MCWILLIAM, R.A. | Torso with Legs
        Sep. 11, 2018

        FREDERICK EDWARD MCWILLIAM, R.A. | Torso with Legs

        Est: £7,000 - £10,000

        bronze

        Sotheby's
      • FREDERICK EDWARD MCWILLIAM, R.A. | Seated Woman II
        Sep. 11, 2018

        FREDERICK EDWARD MCWILLIAM, R.A. | Seated Woman II

        Est: £8,000 - £12,000

        bronze

        Sotheby's
      • Frederick E. McWilliam HRUA RA (1909-1992)Sitting Up Girl II (1970)Bronze, 25 x 22 x 15cm (10 x 8¾ x 6'')Signed with initials and numbered 1/5, Galizia FoundryProvenance: Acquired from the Ulster Museum exhibition, April- May 1981, by the present
        Nov. 22, 2017

        Frederick E. McWilliam HRUA RA (1909-1992)Sitting Up Girl II (1970)Bronze, 25 x 22 x 15cm (10 x 8¾ x 6'')Signed with initials and numbered 1/5, Galizia FoundryProvenance: Acquired from the Ulster Museum exhibition, April- May 1981, by the present

        Est: €7,000 - €10,000

        Frederick E. McWilliam HRUA RA (1909-1992)Sitting Up Girl II (1970)Bronze, 25 x 22 x 15cm (10 x 8¾ x 6'')Signed with initials and numbered 1/5, Galizia FoundryProvenance: Acquired from the Ulster Museum exhibition, April- May 1981, by the present owners. Exhibited: Waddington Gallery, 1971; ‘FE McWilliam Retrospective’ Arts Council of Northern Ireland touring exhibition, Ulster Museum, April - May, 1981, cat. no. 88; Douglas Hyde Gallery, Dublin, May - June 1981; Crawford Municipal Gallery, Cork, July - August 1981; Gordon Gallery, Derry, 1984; Shambles Gallery, Hillsborough, Co. Down, 1988; New Art Centre.Literature; F.E.McWilliam, Arts Council of Northern Ireland Catalogue no. 95, illus. p. 68; ‘The Sculptor F.E.McWilliam’ Ferran & Holman, Lund Humphries, 2012, no. 356, illus. p. 151; New Art Centre, Roche Court, Salisbury, England.McWilliam regarded sculpture primarily as a means of personal expression and as Roland Penrose wrote in 1964 that “McWilliam is an inventor of styles. The variety we see in his work is a symptom of his restless enquiry into the substance of living things..” and added that “He has the capacity to relate our daily existence with existence which is fundamental and timeless. He has above all the understanding and instincts of a poet.”McWilliam, who evolved a new series every year, began his playful Girl Series in 1969, which ended in 1972 when he began his emotionally charged Women of Belfast in response to the bombing of the Abercorn Restaurant in Belfast. The Girl Series is McWilliam at his most playful and joyful, depicting each of his girls in various conversational or provocative poses. He loved the coquettishness and movement of women, as they reclined, kneeled or sat, as in Sitting-up Girl II, depicting women with the keen observation of an admirer who was a loving husband and father of two daughters. McWilliam brings movement into the Sitting-up Girl by using contrasting surfaces of polished bronze against textured, darkened bronze, using the planes of the outstretched resting leg against the strong upright form of the raised leg, upon which the girl’s right arm rests. She exudes an air of silent patience, waiting for the resumption of the conversation or the end of her modelling session. After one year at the Belfast Art School, McWilliam trained at the Slade School of Art in London where he met a fellow Slade student, Beth Crowthers, who became his wife in 1932. The Slade was renowned for its emphasis on accurate and fine drawing and McWilliam was enrolled as a fine art student in painting with sculpture as a secondary subject. The Slade training is evident in the fine drawn lines, etched in the face, the legs and the hands of the female sitter, especially in the fine delineation of the fingers of the left hand, defined against the sitter’s thigh. The simple depiction of the face has echoes of the women in Picasso’s etchings of the 1930’s, understandably so, as McWilliam went to Paris with Beth in 1931 to settle there and become a fulltime artist. He later recalled ‘When I lived in Ireland, I only wanted to get out of it to where the action in the visual arts was - Paris.’ McWilliam’s lifelong friend, the Irish landscape painter, the late T.P. Flanagan, believed that these defined figures of the Girl Series, best exemplified McWilliam’s drawing ability, his mastery of form, his creative use of the pose, highlighting the contrast of shadow and light; polished smooth surfaces against dark unpolished areas, emphasizing the three dimensional qualities of this perfectly posed and tranquilly balanced figure. Dr Denise FerranOctober 2017

        Adam's
      • Frederick E. McWilliam HRUA RA (1909-1992)Crossed Legs (1978)Bronze, 38 x 40 x 28cm (15 x 15¾ x 11'')Signed with initials and numbered 4/5Cast by the Fiorini FoundryPlaster maquette, collection of F.E.McWilliam Gallery and Studio; edition 1/5, c
        Nov. 22, 2017

        Frederick E. McWilliam HRUA RA (1909-1992)Crossed Legs (1978)Bronze, 38 x 40 x 28cm (15 x 15¾ x 11'')Signed with initials and numbered 4/5Cast by the Fiorini FoundryPlaster maquette, collection of F.E.McWilliam Gallery and Studio; edition 1/5, c

        Est: €10,000 - €15,000

        Frederick E. McWilliam HRUA RA (1909-1992)Crossed Legs (1978)Bronze, 38 x 40 x 28cm (15 x 15¾ x 11'')Signed with initials and numbered 4/5Cast by the Fiorini FoundryPlaster maquette, collection of F.E.McWilliam Gallery and Studio; edition 1/5, coll. Ulster Museum, Belfast, purchased 1980.Provenance: edition 4/5, purchased from the artist’s studio by the present owners, 1981.Literature: McWilliam’s notebook, work is numbered 78.10, ie the 10th work of 1978. When he embarked on his series of of ‘Legs’ 1977 - 1981, ‘he began the practice of making small accurate sketches of each work beside his notebook entry, which was not just for his won identification, but for the foundries, in this case the Fiorini Foundry, with whom he worked closely’. ‘The Sculpture of F.E.McWilliam’ Ferran & Holman, Lund Humphries, 2012. Exhibited: 'FE McWilliam', Taylor Gallery Dublin 1979; 'FE McWilliam Retrospective', the Arts Councils of Northern Ireland, 1981, cat. no. 143; exhibition tour, Ulster Museum, Belfast, April - May; Douglas Hyde Gallery, Dublin, May - June; Crawford Municipal Gallery, Cork, July - August. Tate Gallery, 1989, cat. no. 64, illus. p. 63; Beaux Arts, Bath, 1991; Shambles Gallery, Hillsborough, Co. Down, 2003; Inaugural exhibition at the F.E.McWilliam Gallery & Studio, 2008, exh.cat., illus. p.110. ‘Women of Belfast’ and ‘Woman in a Bomb Blast’ were a highly charged response by McWilliam to the devastating bombs in Belfast and in particular the bombing of the Abercorn restaurant in 1971. This series was followed by the ‘Banners’ which again focused on the Northern Ireland problems, a series instigated by the Peace People, mainly women, including his longtime friend Sheelagh Flanagan and many others, who marched for peace. After five years, reacting through his work to the effect of politics, McWilliam or ‘Mac’ as he was, affectionately called, by his friends, turned for respite to the subject matter he loved most, the beauty and form of female legs. The walls of his studio in Holland Park had many photographs of female forms, especially legs, some from Selfridges advertisements for ladies’ tights. The capriciousness of McWilliam’s imagination, used the subject of women’s legs as a means to create movement, beauty and intrigue. His observation of Indian carvings, especially in the temples of Orissa, which he studied first hand, informed him that the entire human form did not need to be present to give meaning to the subject. His return to the Surrealist idea of complete fragment and his use of legs, to convey this, as here in ‘Crossed Legs’ provides all the sensuality, smoothness and playfulness, as ever associated with the subject, stopping short of eroticism. His ability to give meaning in every foot movement and toe position portrays his love of fun and admiration for the female form. His friendship with the Dublin born ballerina, Ninette de Valois (1898 - 2001) founder of the Royal Ballet, whose portrait he carved in 1963, influenced him greatly, leading to his love of ballet and an appreciation of such an exacting art form in which arm and leg movement were paramount. Feet were important to McWilliam as a means to express emotions whether terror in ‘Women of Belfast’ which to him were - ‘the women as victims of man’s stupidity’ or the joy, anticipation and excitement in ‘Crossed Legs’.Denise FerranOctober 2017

        Adam's
      • Frederick E. McWilliam HRUA RA (1909-1992)Women of Belfast IIIBronze, 39cm high x 52.5cm wide x 24cm (15¼ x 20¾ x 9½'')Numbered 3 out of 5Exhibited: 'Eye for an Eye' exhibition, Lewis Glucksman Gallery, UCC, Cork, November 2008 - March 2009; ‘FE
        Nov. 22, 2017

        Frederick E. McWilliam HRUA RA (1909-1992)Women of Belfast IIIBronze, 39cm high x 52.5cm wide x 24cm (15¼ x 20¾ x 9½'')Numbered 3 out of 5Exhibited: 'Eye for an Eye' exhibition, Lewis Glucksman Gallery, UCC, Cork, November 2008 - March 2009; ‘FE

        Est: €20,000 - €30,000

        Frederick E. McWilliam HRUA RA (1909-1992)Women of Belfast IIIBronze, 39cm high x 52.5cm wide x 24cm (15¼ x 20¾ x 9½'')Numbered 3 out of 5Exhibited: 'Eye for an Eye' exhibition, Lewis Glucksman Gallery, UCC, Cork, November 2008 - March 2009; ‘FE Mc William ‘Women of Belfast’ Exhibition’, Dawson Gallery, Dublin, October 1973, where it is thought this was purchased by the current owner, this exhibition travelled to The Waddington Galleries, London and the Mc Clelland Galleries, Belfast where it was catalogued as ‘Women of Belfast 5”; 'FE McWilliam Retrospective', the Arts Councils of Northern Ireland, 1981.Literature: 'The Sculpture of F.E. McWilliam' by Denise Ferran and Valerie Holman 2012 catalogue raisonne, No.381.The Women of Belfast series represents an attempt by the artist to address a specific event in Irish history, and relates to McWilliam's interest in humanity as a theme. The series was inspired by media images of the bombings of the Abercorn Restaurant in Belfast on a busy Saturday afternoon in March 1972. The latest in a series of death and destruction during the Troubles, this event caused nationwide revulsion as it was mainly women and children who were either killed or maimed, and particularly affected McWilliam. At the time the sculptor was working on the expressive potential of drapery, a fundamental idea in the history of art. Traditionally drapery is used to articulate the shape of the body underneath and to suggest particular emotion or ideas. In Women of Belfast this fundamental pictorial idea has been dislocated. The distorted forms of the women's clothing and their extended limbs work independently of each other to express the dehumanising effect of the violence. The extremity of movement and the unnatural distortions of the figures convey the force of the bomb blast, and their frozen nature encapsulates an extreme moment in history. The associated sketches retain a sense of emotional involvement which is absent in the bronzes. This demonstrates the fact that for McWilliam sculpture required the resolution of a pictorial or conceptual problem whereas drawing was a more spontaneous activity. Women of Belfast was another incarnation of McWilliam's interest and exploration of the human form throughout his career, yet with a personal and historic connection. George McClelland, by exhibiting the series in his gallery in 1973, played a vital role in giving McWilliam an opportunity to comment on the political situation at a crucial moment in Northern Irish history. Writing in the McClelland exhibition catalogue F.E. Mc William said :-“I left Ireland when I was 18,and although I seldom return, what happens there concerns me closely, not just because most of my relatives and many of my friends are there, but because my early roots remain unbroken - especially the roots of memory. I can recall clearly what happened in my home town during the former ’troubles’, this left me with a lasting awareness and hatred of intolerance and religious bigotry.These sculptures are concerned with violence, with one particular aspect, bomb-blast - the women as victims of man’s stupidity. I did not choose the subject consciously, it happened I suppose, because the situation in Ulster is inescapable, even at a safe remove, sometimes that is always nagging at the back of ones mind” (July 1973)We would like to thank Roisin Kennedy and Denise Ferran, whose research and writings on the artist formed the basis of this catalogue entry.

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