[av_heading heading=’Early marble statue of a cricket bowler scored at Andrew Jones’ tag=’h1′ style=” subheading_active=” show_icon=” icon=’ue800′ font=’entypo-fontello’ size=” av-desktop-font-size-title=” av-medium-font-size-title=” av-small-font-size-title=” av-mini-font-size-title=” subheading_size=” av-desktop-font-size=” av-medium-font-size=” av-small-font-size=” av-mini-font-size=” icon_size=” av-desktop-font-size-1=” av-medium-font-size-1=” av-small-font-size-1=” av-mini-font-size-1=” color=” custom_font=” subheading_color=” seperator_color=” icon_color=” margin=’,,35px,’ av-desktop-margin=” av-desktop-margin_sync=’true’ av-medium-margin=” av-medium-margin_sync=’true’ av-small-margin=’,,20px,’ av-mini-margin=” av-mini-margin_sync=’true’ headline_padding=” headline_padding_sync=’true’ av-desktop-headline_padding=” av-desktop-headline_padding_sync=’true’ av-medium-headline_padding=” av-medium-headline_padding_sync=’true’ av-small-headline_padding=” av-small-headline_padding_sync=’true’ av-mini-headline_padding=” av-mini-headline_padding_sync=’true’ padding=’10’ av-desktop-padding=” av-medium-padding=” av-small-padding=” av-mini-padding=” icon_padding=’10’ av-desktop-icon_padding=” av-medium-icon_padding=” av-small-icon_padding=” av-mini-icon_padding=” link=” link_target=” title_attr=” id=” custom_class=” template_class=” av_uid=’av-12y0yd2z’ sc_version=’1.0′ admin_preview_bg=”][/av_heading]
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LOS ANGELES — A white marble sculpture of a young man holding what appears to be a cricket ball flew away from its estimate to bring $30,000 ($39,000 with buyer’s premium) at Andrew Jones on November 29. The finely carved and modeled figure of an idealized youth standing contrapposto may be among the earliest known three-dimensional depictions of a cricketer.
Long before today’s professional game arose, cricket was a gentlemen’s pastime, dating back to the 16th century in England and the 17th century in colonial North America. This 3ft 1in (94cm) high figure, likely carved in England or perhaps in Italy as a Grand Tour souvenir, shows a player holding a distinctive single-seam leather ball in his right hand. He wears a high-collared shirt, breeches and a sash — the clothing and demeanor of a player from the late 18th century. Figures are similarly depicted in a page from the sketchbook of the artist and amateur cricketer George Shepheard (1770-1842) that today forms part of the Marylebone Cricket Club collection. Showing a dozen drawings of cricketers at a match at Lord’s Cricket Ground in London’s St. John’s Wood area, it dates to around 1790.
By then the original form of bowling — rolling the ball with an under-arm motion — had been superseded by the pitched or flighted delivery with variations in line, length and pace. In response, the bat changed from a curved hockey stick-like form to the straight bat used into the present day.
While numerous cricketing paintings and prints dating between 1750-1850 survive, relatively few sculptures are known from this formative period.
This white marble piece likely predates the best-known series of 19th-century cricketing sculptures — Joseph Durham’s quintet of models exhibited at the Royal Academy in 1864 — by more than to half a century. It was offered as part of the collection of the Los Angeles interior designer and antique collector Craig Wright, with a previous provenance to the remarkable Stone House on the Palos Verdes estate in California. The auction house pointed to some small imperfections in the statue, including some pitting, losses to the collar and an area of fluorescence around the back of the left leg and the post that possibly indicated a repair. It had been modestly estimated at $1,500-$2,000, and the buyer was from London.
Another lot that will doubtless merit further research is an early 19th-century French self-portrait. The 14 by 13in oil on relined canvas showed a young artist in the fashion of the French Empire period looking out to the viewer from his easel. It was attributed to the super-talented portrait and genre painter Louis-Leopold Boilly (1761-1845) and did bear a youthful likeness to other later works in his oeuvre. Estimated at $2,000-$3,000, it was a sufficiently intriguing prospect to sell for $40,000 ($52,000 with buyer’s premium). The auction house said it came from a local collector, and two East Coast collectors battled to own it.
Boilly is the man who introduced the term trompe-l’oeil (trick the eye) to art history. It was his 1800 illusionist painting Un Trompe-l’oeil, depicting layers of overlapping prints, drawings, and papers covered by a sheet of broken glass that gave the technique is name.
A large Chelsea Clock Co. brass ship’s wheel clock was estimated at $1,500-$2,000 but hammered for $15,000 ($19,500 with buyer’s premium). The Boston firm has made these so-called ‘ship’s bell’ clocks since 1900, but at 2ft 3in (68cm) high, this example must be among the largest. The movement is numbered 181788, which dates it to around 1930, although by consulting the Chelsea factory archives it should be possible to work out who first ordered the clock and when it left the workshop.
It was one of many lots in the sale that came from the private collection of Nina Schwimmer, a retired dealer from Beverly Hills.
From the same source was a Biedermeier mahogany three-tier revolving bookcase that hammered for $10,000 ($13,000 with buyer’s premium) against an estimate of $400-$600.
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White marble sculpture of a young man holding what appears to be a cricket ball, which sold for $30,000 ($39,000 with buyer’s premium) at Andrew Jones.
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Early 19th-century French self-portrait attributed to Louis-Leopold Boilly, which sold for $40,000 ($52,000 with buyer’s premium) at Andrew Jones.
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Chelsea Clock Co. brass ship’s wheel clock, which sold for $15,000 ($19,500 with buyer’s premium) at Andrew Jones.
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Biedermeier mahogany three-tier revolving bookcase, which sold for $10,000 ($13,000 with buyer’s premium) at Andrew Jones.
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