- 111
Frederick Edward McWilliam, R.A.
Estimate
8,000 - 12,000 GBP
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Description
- Frederick Edward McWilliam, R.A.
- Cain and Abel VII
- signed with initials
- bronze
- height: 27.5cm.; 10¾in.
- Conceived in 1957, the present work is number 1 from the edition of 1.
Provenance
Hanover Gallery, London, where acquired by Eugene and Penelope Rosenberg, 27th November 1952
Exhibited
London, Hanover Gallery, F.E. McWilliam, October - November 1952, cat. no.12;
Belfast, Ulster Museum, F.E. McWilliam, 2nd April - 10th May 1981, cat. no.19, with Arts Council of Ireland tour to Douglas Hyde Gallery, Dublin, Crawford Municipal Gallery, Cork, and Orchard Gallery, Derry.
Belfast, Ulster Museum, F.E. McWilliam, 2nd April - 10th May 1981, cat. no.19, with Arts Council of Ireland tour to Douglas Hyde Gallery, Dublin, Crawford Municipal Gallery, Cork, and Orchard Gallery, Derry.
Literature
The Tatler, 12th November 1958, p.339;
Roland Penrose, McWilliam, Alec Tiranti Ltd, London, 1964, pp.8-9, illustrated no.43;
Denise Ferran and Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, cat. no.88, illustrated p.111(another cast).
Roland Penrose, McWilliam, Alec Tiranti Ltd, London, 1964, pp.8-9, illustrated no.43;
Denise Ferran and Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, cat. no.88, illustrated p.111(another cast).
Condition
Structurally sound.
There are minor traces of very light surface dirt and matter, with some casting residue apparent to the crevices, and some very tiny traces of light oxidisation to the crotch area of the male figure, only visible upon extremely close inspection. This excepting the work appears in excellent overall condition.
Please contact the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The present work is a smaller version of the maquette which McWilliam submitted for the International Competition to design a monument to honour the Unknown Political Prisoner in 1953. The two figures struggling with each other symbolised 'man's eternal persecution of man, of which the political poisoner is but the contemporary symptom…' (McWilliam quoted in Ferran and Holman, op.cit., p,40). His design was one of the final twelve alongside maquettes by Hepworth, Frink, Chadwick, Paolozzi and the winner, Reg Butler and was his first work to enter the Tate's Collection. He chose the title Cain and Abel to differentiate his sculpture from other maquettes from the competition that were also acquired.