Joseph Herbert Morcom

Acquired from the Artist's son by the previous owner
Their sale, Lawrence's Crewkerne, 24th April 2009, lot 2063

Structurally sound. There is minor surface dirt to the crevices of the coiled copper hair, which themselves are a little loose in their attachment. There are some traces of oxidisation and vertigre to the back of the copper in the hair, visible upon close inspection. There are natural inclusions to the stone, with one or two spots of possible minor bruising. This excepting the work appears in excellent overall condition. Housed on a 10cm. high copper clad base.
"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."

Morcom was born near Wrexham in North Wales, and, upon moving to Liverpool in 1891, trained as a carver in stone and marble before moving to Leicester in 1913.  He showed a number of portrait busts and medals at the Royal Academy between 1908 and 1935, including a niche group in bronze for the War Memorial in the Masonic Hall in Leicester (1921).  In addition, Morcom exhibited his works, which included sculptures in marble, ivory and plaster at the Walker Art Gallery, Liverpool from 1903, as well as at the Royal Cambrian Academy and the Leicester Society of Artists’ Annual Exhibitions.

This striking bust, which dates from the mid-1930s, combines an interest in traditional metalworking techniques with the vogue for semi-abstraction in the human face seen in works by Picasso and Modigliani.