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Lot 20: BERTRAM MACKENNAL, CIRCE, c.1902 – 04

Est: $160,000 AUD - $200,000 AUDSold:
Deutscher and HackettMelbourne, AustraliaApril 21, 2021

Item Overview

Description


BERTRAM MACKENNAL
(1863 – 1931)
CIRCE, c.1902 – 04
bronze
57.0 cm height
inscribed at base: KIP KH
signed at base: B MACKENNAL

PROVENANCE
Dr J.J.C. Bradfield, Sydney, a gift from the artist, c. 1927
Thence by descent
Edith Bradfield, Sydney
Dr Stanley G. Bradfield, Sydney, a gift from the above c.1945
Thence by descent
Enid Bradfield, Sydney
Thence by descent
Family collection, Canberra

EXHIBITED
The Royal Glasgow Institute of Fine Arts, Scotland, 1905, cat. 854 (another example)
The Franco-British Exhibition, London, UK, 1908, cat. 1305 (another example)
International Fine Arts Exhibition, Rome, 1911 (another example)
The Royal Glasgow Institute of Fine Arts, Scotland, 1918, cat. 45 (another example)
Exhibition of bronzes by Sir Bertram Mackennal K.CV.O., R.A., Macquarie Galleries, Sydney, 7 – 20 October 1926, cat. 10 (another example)
Memorial exhibition of statuettes by the Late Sir Bertram Mackennal, K.C.V.O, Fine Arts Society Gallery, Melbourne, May 1932 (another example)
Commemorative exhibition of works by late members, Winter Exhibition, Royal Academy, London, 7 January – 11 March 1933, cat. 98 (another example, lent by Lady Mackennal)
British Sculpture 1850 – 1914, The Fine Art Society, London, 30 September – 30 October 1968, cat. 106 (another example)
Spring exhibition. Recent Acquisitions, Joseph Brown Gallery, Melbourne, 18 – 29 October 1976, cat. 33 (another example)
Early Australian sculpture, from its beginnings up to circa 1920, Ballarat Fine Art Gallery, Victoria, 15 March 1977, cat. 20 (another example)
Spring exhibition 1979, Joseph Brown Gallery, Melbourne, 17 ­– 30 October 1979 (another example)
Australian Sculpture 1890 – 1919, Art Gallery of New South Wales, Sydney, 22 January – 22 February 1987 (another example)
Stampede of the Lower Gods: Classical Mythology in Australian Art 1890's-1930's, Art Gallery of New South Wales, Sydney, 19 October – 26 November 1989
Australian Art, Colonial to Contemporary, Deutscher Fine Art, Melbourne, May – June 1995, cat. 1128 (another example)
Reverie, myth, sensuality: sculpture in Britain 1880 – 1910, City Museum and Art Gallery, Stoke-on-Trent, UK, 26 September – 29 November 1992 (another example)
Australian icons: twenty artists from the collection, Art Gallery of New South Wales, Sydney, 4 August – 3 December 2000 (another example)
Exposed: The Victorian Nude, Tate Britain, London, 1 November 2001 – 13 Jan 2002, and touring (another example)
Bertram Mackennal: The Fifth Balnaves Sculpture Project, Art Gallery of New South Wales, Sydney, 17 August – 4 November 2007; National Gallery of Victoria, Melbourne, 30 November 2007 – 24 February 2008 (another example)
Edwardian opulence: British art at the dawn of the twentieth century, Yale Center for British Art, New Haven, USA, 28 February – 2 June 2013 (another example)
Archie Plus, Art Gallery of New South Wales, Sydney, 26 September 2020 – 7 March 2021 (another example)

LITERATURE
Spielmann, M. H., British Sculpture and Sculptors of Today, Cassel, London, 1901, p. 134
Moore, W., The Story of Australian Art, vol. 1, Angus & Robertson, Sydney, 1934, p.202 (illus., another example)
Badham, H., A Study of Australian Art, Currawong Publishing, Sydney, 1949, p. 136
Badham, H., A Gallery of Australian Art, Currawong Publishing, Sydney, 1954, pl. 101 (illus. another example)
McCulloch, A., Encyclopedia of Australian Art, Hutchinson, Richmond, 1968, p. 662
Cooper, J., Nineteenth-Century Romantic Bronzes, David and Charles, London, 1975, p. 92
Flower, C., Erotica: Aspects of The Erotic in Australian Art, Sun Books, South Melbourne, 1977, pp. 24 – 25 (illus., another example)
Sturgeon, G., The Development of Australian Sculpture 1788-1975, Thames and Hudson, London, 1978, pp. 64, 65 (illus., another example)
Scarlett, K., Australian Sculptors, Nelson, Melbourne, 1980, p.405
Clark, J., et. al., Golden Summers: Heidelberg and beyond, ICCA, Sydney, 1985, p. 181 (illus. another example)
Thomas, D., (ed.) Creating Australia: 200 years of art 1788-1988, ICCA, Sydney, 1988, p. 129 (illus. another example)
Lane, T., Nineteenth Century Australian Art in the National Gallery of Victoria, NGV, Melbourne, 2003, pp. 116 – 117 (illus. another example)
Edwards, D., et. al., Bertram Mackennal, Art Gallery of New South Wales, Sydney, 2007, pp. 30 (illus. and illus. cover, another example), 31 – 34, 168 – 71, 211 (illus. detail), and catalogue in accompanying CD–ROM
Mendelssohn, J., 'Australian symbolism: the art of dreams', Art & Australia, Sydney, Summer 2012, p. 309
Trumble, A., and Wolk Rager, A. (eds), Edwardian opulence: British art at the dawn of the twentieth century, Yale University Press, New Haven, 2013, cat. 89, pp. 349 (illus., another example), 351, 410
Grishin, S., Australian art: a history, The Miegunyah Press, Victoria, 2013, pl. 17.5, pp. 166, 167 (illus. another example), 548, 564

RELATED WORK


ESSAY
Bertram Mackennal portrays the sorceress Circe in the moment of casting a spell – awesome, ominous and dangerously all-powerful. Beguiled by the beauty of the sensuous curves and naked body, her pose is confrontational and commanding. Mackennal’s public presentation of his sculpture of Circe was a triumph, bringing him fame and recognition. Exhibited prominently in the Paris Salon ( Société des Artistes Français) of 1893, it received the added prestige of being illustrated in the catalogue. Not only were reviews highly favourable, Mackennal also received a mention honorable. Writing in the Revue des Deux Mondes, one French critic observed: ‘The tense, restrained, but triumphant beauty of the sorceress bears itself with a firm and elegant alertness which is free from all trace of vulgarity and all suggestion of the model: no small merit in our opinion at the present day’.1 The English critic, R. Jope-Slade, praised Circe for its ‘remarkable and distinctive individuality’. He continued:

This powerful woman with extended arms and drooping hands, and the serpent-filled tresses of a witch, stands erect, almost rigid in the pride of consciousness of the irresistible supremacy of her nudity; but form and face are devoid of voluptuousness, and her expression is one of scorn for her victims. 2

While the French had taken Circe in their stride, across the Channel at London’s Royal Academy she caused something of a sensation. Keen to show her in the 1894 exhibition, the prudish action of the hanging committee caused more than a sniff of scandal. Prominently displayed, they covered her base with a swathe of red baize to hide the erotic figuring, which Mackennal had described as ‘debased men and women who have drunk of Circe’s wine’3. It had the opposite effect. Exciting the public’s imagination, it became the talk of the town.

The tale of the ancient goddess Circe is drawn from the pages of Homer’s The Odyssey. Here we learn of her enticements, of turning men into wild beasts and Odysseus’ sailors into swine. Irresistible and all conquering, Circe is the classic femme fatale, a fascination that gripped many of the creative minds of the fin-de- siècle. A memorable oil painting is Circe Invidiosa, painted in 1892 by the English artist J. W. Waterhouse (Art Gallery of South Australia). Favoured by the Symbolists, the femme fatale populated opera, Nikolai Rimsky-Korsakov devoted a symphonic suite to Scheherazade, and Aubrey Beardsley, Richard Strauss and Oscar Wilde produced their own versions of Salome. These powerful figures also reflected contemporary interests in the women’s movement and the rise of feminine equality. 4

As the century drew to a close, subjects from classical mythology grew in popularity, especially among the young Australian artists exhibiting in Paris and London. Rupert Bunny’s Tritons c.1890 (Art Gallery of New South Wales) gained a mention honorable at the Salon of 1890 and is believed to have been purchased by Alfred Felton. Bunny also exhibited Pastoral c.1893 (National Gallery of Australia) in the same 1893 Salon as Mackennal’s Circe. Other notables in that same Salon included John Longstaff’s The Sirens 1892 and Aby Altson’s The Golden Age, 1893 (both in the collection of the National Gallery of Victoria). The latter also received a mention honorable.

The life-sized sculpture of Circe, which Mackennal exhibited in the Paris Salon of 1893 and London’s Royal Academy of 1894, was made of plaster, cast from the clay model. In Paris in 1901 Mackennal had it cast in bronze, the sculpture subsequently being acquired by the National Gallery of Victoria through the Felton Bequest in 1910. In response to the popularity of the work, Mackennal produced an edition of statuettes, of which the work on offer is one, cast in bronze in Paris between 1902 and 1904. Another is in the collection of the Art Gallery of New South Wales, which produced, from the original bronze, a limited edition of 100, hand-cast in bonded bronze powder and polymer resin during 1997-1998. They are inscribed and numbered on the base: ‘B. Mackennal AGNSW …/100 Kip KH’.

At the time of completing Circe in 1893, Mackennal wrote to his Melbourne patron and friend Felix Meyer saying: ‘I feel that I am all in it … I put so much time, money & thought into my Circe, …’.5 Noted for its lively invention and technical excellence, its blend of French and British aesthetics is seamless. Mackennal is seen at his brilliant best in his combination of naturalism and symbolism. Knighted in 1921, internationally he remains today one of Australia’s most successful artists.

When Mackennal made a celebrated visit to Australia in 1926, he was treated like a hero, receiving a number of prestigious commissions. Chief among these came from the State Government of New South Wales to undertake the design and erection of a cenotaph in Sydney’s Martin Place. The work was supervised by the noted engineer Dr John Bradfield (1867-1943), acknowledged as the ‘father’ of modern Sydney through his leading roles on the Sydney Harbour Bridge and other major projects undertaken for the Department of Public Works over many years. Notable for Mackennal’s bronze figures of an Australian soldier and sailor, the Cenotaph was unveiled in February 1929.

Seemingly as a gesture of appreciation arising from their professional association with the Cenotaph, Mackennal gave Bradfield one of his bronze statuettes of Circe, believed to be one of the eight cast between 1902-4. An artist’s gift of one of their works, especially one of their most celebrated, is something very special. This is particularly so for the statuette Circe on offer, distinguished ownership adding prestige, interest of association and value for the prospective collector.

During his Sydney visit of 1926, Mackennal held a solo exhibition of his bronzes at the Macquarie Galleries. Another example of the bronze statuette Circe was included. The exhibition was a sell-out.

1. ‘Les Salons des 1893: la Peinture au Champ du Mars et al sculptures sans les deux salons, Revue des Deux Mondes, vol. 118, July 1893, unpaginated, quoted in Jope-Slade, R., ‘An Australian Quartette’, The Magazine of Art, London, 1895, vol. 18, p. 390
2. Jope-Slade, ibid.
3. Mackennal, B., Table Talk, Melbourne, 29 June 1894, p. 3
4. Lane, T., ‘An Homeric Goddess for The Modern Age: Circe 1893’, in Edwards, D., et al, Bertram Mackennal, Art Gallery of New South Wales, Sydney, 2007, p. 168
5. Mackennal letter to Felix Meyer, 12 April 1893, Felix Meyer papers, quoted in Lane, ibid

DAVID THOMAS

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: American Express, COD (cash on delivery), MasterCard, Personal Check, Visa, Wire Transfer

Shipping

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Auction Details

Important Australian + International Fine Art

by
Deutscher and Hackett
April 21, 2021, 07:00 PM AEST

105 Commercial Road South Yarra, Melbourne, VIC, 3141, AU

Terms

Buyer's Premium

22.73%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
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2. THE AUCTION

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REGISTRATION
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CONDUCT OF AUCTION
Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.

ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE
Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):

$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22% (plus GST) of the final bid price. An Invaluable service fee of 5% of the final bid price will also be charged. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

EXPORT
Prospective bidders are advised to enquire about export licences -- including endangered species licences and cultural heritage permits, where relevant -- prior to bidding at auction. Telephone the Maritime and Movable Heritage Unit on 02 6274 1810 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.