Japanese Swords & Armour
An Important Private Collection of Japanese Swords and Armour
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Fine 14th century Japanese Wakizashi blade attributed to Goro Nyudo Sadamune, of slightly curved form, short narrow groove to one side and incised pattern to the other - inscribed on tang 'Sagami Kuni ju nin Sadamune' but probably by his pupil Akihiro - copper habaki with shirasaya mounts with old collection of labels and Christie's lot label, the blade 43.3cm.
Provenance: Ex-Christie's Exceptional Japanese sword blades from a collection formed during the Meiji period - Tuesday 5th June 1979 - lot 104. Sold with copy of catalogue with description
£2000 - 3000
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Fine 15th century Japanese Katana blade attributed to Heianjo Nagayoshi, of slightly curved form, with deep fuller near back edge, signed on tang - Nagayoshi (Heianjo Nagayoshi of Kyoto), but the signature probably re-cut or added - 15th century with copper gilt habaki in shirasaya mounts with old collection labels and Christie's lot number - the blade 68.7cm long.
Provenance: Ex-Christie's Exceptional Japanese sword blades from a collection formed during the Meiji period - Tuesday 5th June 1979 - lot 97. Sold with copy of catalogue with description
£3000 - 5000
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Fine 14th century Japanese Tachi blade by Bizen Kagemitsu of slightly curved form, with double fullers and waved hamon line, signed on tang 'Bizen Kuni Osafune ju Kagemitsu' and inscribed 'Yamashiro Kuni Nishijin ju Umetada Orikaeshi' (this is probably Kagemitsu III, circa 1368), gilt metal habaki in shirasaya mounts with Meiji collection inscription dated 1884 and Christie's lot label, the blade 71.5cm.
Provenance: Ex-Christie's Exceptional Japanese sword blades from a collection formed during the Meiji period - Tuesday 5th June 1979 - lot 96. Sold with copy of catalogue with description
£3000 - 5000
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Fine 14th century Japanese Tachi blade, by Rai Kuninaga, of curved form, signed on tang - Rai Kuninaga (of Settsu), second quarter, 14th century, silver habaki in shirasaya mounts - with old collection labels and Christie's lot labels, the blade 70.9cm long. Rai Kuninaga was a pupil of Rai Kunitoshi of Kyoto; his school was sometimes called Nakashima Rai after that area in Settu province, now part of modern Osaka.
Provenance: Ex-Christie's Exceptional Japanese sword blades from a collection formed during the Meiji period - Tuesday 5th June 1979 - lot 95. Sold with copy of catalogue with description
£3000 - 5000
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Rare Japanese Edo period suit of armour - comprising Kabuto helmet of riveted ridged russet iron with five piece neck guard, human mask face and neck guard with hair moustache and exaggerated features - lacquered iron plate cuirass shoulder spaulders, arm and hand defenders, skirts, etc, some age related wear, damage and losses.
Provenance: Bought by the vendor at auction in the 1970s
£1500 - 2000
| Other Owners |
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Fine late 19th century Japanese carved ivory sword, the hilt, tsuba and scabbard with finely carved sectional panels depicting domestic scenes and dragons, the pommel in the form of a dragon's head with mother of pearl eyes, the scabbard with two ring supports, the blade of plain slightly curved form retaining most original polish, the blade 50cm, the sword 83cm overall.
Provenance: Purchased by Philip Southgate in the 1960s at a house auction of the Paul family of Ipswich, who had shipping, malting and brewing interests in the town
£800 - 1200
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Vacant Lots
| The Glyn Morgan Collection |
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Glyn Morgan (1926-2015) |
Glyn Morgan was born in the Industrial town of Pontypridd in Wales which he recalled as a place where "a fully loaded coal train went past the front of our house every five minutes". As a youth he sketched with abandon, favouring cars, planes and other vehicles and his artistic promise was encouraged at Pontypridd Grammar School. In 1942 he was accepted by Cardiff Art School where tutors included Ceri Richards who Glyn later cited as a significant influence: who instilled the importance of sound draughtsmanship and introduced Glyn to Picasso and the Modernist movement. It was good fortune when the following year, the artist Esther Grainger enlisted Cedric Morris to judge a painting competition in Pontypridd, Glyn entered two works and Morris spotted his potential. Glyn was prompted to attend The East Anglian School of Painting and Drawing, the independent Art School which Morris had established with his partner Lett Haines at Benton End Farmhouse, Hadleigh. Glyn first visited in 1944 and became entranced by the Bohemian yet nurturing atmosphere. After 1944 Glyn returned periodically to the Art School as often as time would allow. From 1947-48 he attended Camberwell School of Art and from there he accepted a teaching post in North Wales, he continued to teach throughout his artistic career, including evening classes at High Wycombe School of Art and Summer School courses at the Flatford Mill field studies centre, from the late 1950s his teaching took him and his wife Jean to Buckinghamshire where they remained until the mid-1990s.
Hadleigh and the Benton End School was an ever present influence on Glyn's career, he was fortunate to have attended during the School's hey-day in the 1940s and 50s, and as his professional career developed he became one of Benton End's most celebrated alumni. Glyn remained an advocate for the legacy of the Benton End School and in 1985 he organised a retrospective exhibition of Benton End works. When Jean retired from teaching they chose to make a final return to Hadleigh and settled in the High Street, in a mediaeval timber framed hall house, Glyn set to his painting with vigour, outbuildings became his picture store and studio, he continued to paint prolifically until very recently: the most recent painting in the studio collection is dated 2013, just two years before he retired to what he referred to as 'the great artists studio in the sky!'
The present collection is offered largely as it was found in his picture store, artist's studio and around his home. The collection comprises in excess of 250 paintings together with various unframed works on paper and sketchbook materials. Spanning over 70 years of artistic endeavour the collection charts the range of his career and distinct stylistic developments. Early works include a number of delicate portrait studies in oil glazes on board executed in the mid 50s, several early still life's are reminiscent of Cedric Morris and the prevailing Benton End Style. The 1960s works mark transition into the monumental and shimmering visionary landscapes which become his prevailing style, paintings which explore the innate connectivity between humans, the natural world and landscape, paintings imbued with supernatural elements. Welsh mythology, Classical Greek and Pagan themes become the inspiration for series' of works which often spanned long periods and to which Glyn would frequently revisit, themes featured in the sale include amongst others The Table of Minos, circa 1971, one of several schemes recalling work undertaken during his 1968 Goldsmith's Company Award which afforded him a six month residency in Crete. Musical themes and titles are frequent, Glyn invariably worked whilst listening to Radio 3 and he sought to capture the essence of music in painting. Welsh folklore is represented with his Mabinogion paintings and themes of metamorphosis and the Green Man are ever present. Most typical are his large landscape canvases, boldly painted in rich tones resonating with ethereal light, impasto is employed to effect, with sand and even washing machine fluff mixed into his paints for texture. These paintings place Glyn Morgan in the grand British symbolist landscape tradition of Samuel Palmer, Graham Sutherland and Paul Nash. In contrast and as if to demonstrate his range and command of media, Glyn produced some very fine and delicate botanical watercolours during the 1980s and 90s when he became a member of The Society of Botanical Artists.
Glyn Morgan's exhibited extensively including at The Royal Academy, The Museum of Modern Art-Wales, The Minories, The Gilbert Parr Gallery, Chappel Galleries and many others, in 2006 a extensive retrospective was curated by The National Library of Wales, Aberystwyth. He is represented in the National Museum of Wales, The Welsh Arts Council, The Ipswich and Colchester Museums Collection, and numerous further important institutions and private collections. The present collection is testament to a superb technician and truly original artist whose reputation will no doubt continue
to grow.
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Picture Store |
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Green Man II', signed and dated '94, 76cm x 94cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'The Song of The Earth IV', signed and dated '03, 71cm x 92cm
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - Rabbit, signed and dated '09, 103cm x 117cm, framed
£300 - 500
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*Glyn Morgan (1926 - 2015), oil on board - 'Teddy Boy', signed and dated '56, 91cm x 47cm, framed. Exhibited: Arts Council of Great Britain - Open Exhibition of Contemporary Welsh Paintings and Sculptures, labels verso
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - Driftwood on the shore, signed and dated '80, 76cm x 53cm, framed
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on board - 'Jolly Nude', signed and dated '58, 102cm x 75cm, framed
£400 - 600
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Liszt at the Villa d'Este; the Sphinx Fountain', signed and dated '84, 79cm x 89cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Fantasy after Mahler' 1979, unframed, 82cm x 91cm. Illustrated in '*Glyn Morgan at Eighty', David Buckman, page 38
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas, untitled, signed and dated '75, 93cm x 82cm, unframed
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - Pine tree with butterfly, signed and dated '87, 51cm x 76cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - Mythical landscape, signed and dated '69, 165cm x 120cm
£400 - 600
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Welsh Landscape; The Nightingale', signed and dated '85, 64cm x 76cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - Fantastical landscape, signed and dated '53, 113cm x 143cm. Handwritten label verso suggests this was exhibited in the Arts Council, Welsh Exhibition, 1953
£500 - 700
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*Glyn Morgan (1926 - 2015), oil on canvas, untitled, signed, 92cm x 80cm, framed
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on board - Parisienne street scene, signed and dated '59, 125cm x 162cm, framed
£300 - 500
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Fish and Fossil', signed, 74cm x 61cm, framed
£150 - 250
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Thoughts from the abyss', signed, dated to label verso - 1981, 77cm x 63cm, framed
£150 - 250
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*Glyn Morgan (1926 - 2015), oil on canvas - Landscape viewed from a cemetery, signed, 72cm x 92cm
£250 - 400
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*Glyn Morgan (1926 - 2015), collage and mixed media - 'Fantasies after Mahler VII', 51cm x 56cm
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - Night garden with dancer, signed and dated '79, 70cm x 58cm, framed
£150 - 200
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*Glyn Morgan (1926 - 2015), oil on board - Portrait of a Lady in green dress, signed and dated '56, 49cm x 39cm
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - 'The Green Man and the Bird of Night', signed and dated '95, 92cm x 82cm
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'From the Atlantic', signed, 91cm x 81cm
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Landscape with rising moon', signed and dated '97, 64cm x 76cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Sunflower heads in a landscape', signed and dated '98, 102cm x 125cm, framed
£400 - 600
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*Glyn Morgan (1926 - 2015), oil on canvas - Sunflower, skull, signed and dated '96, 91cm x 121cm
£250 - 400
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*Glyn Morgan (1926 - 2015), oil on board - Blue nude in an interior, unsigned, 72cm x 92cm
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Maenads and Satyrs in the Forest', signed and dated '79, 81cm x 91cm, framed. Illustrated in '*Glyn Morgan at Eighty', by David Buckman, page 76
£250 - 400
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Offering for Persephone', signed and dated '70 / '71, 129cm x 102cm
£250 - 400
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Poem in memory of Orpheus', signed and dated '75, 93cm x 81cm. Illustrated in '*Glyn Morgan at Eighty', by David Buckman, page 30
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on board - still life with skull, decanter and apple, signed and dated '57, 64cm x 77cm
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - Coastal landscape, signed and dated '03, 50cm x 76cm
£100 - 150
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*Glyn Morgan (1926 - 2015), oil on canvas - Landscape with clouds and bird, signed and dated '01, 60cm x 77cm
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'The Pool of the Nereids VIII', signed and dated '71, 72cm x 92cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Dark tree', signed and dated '07, 61cm x 121cm, framed
£300 - 500
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Maenad and Owl in the forest', dated 1984 to label verso, 89cm square, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - Hawk and fungi, signed and dated '01, 58cm x 91cm
£150 - 250
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Poem in memory of Orpheus', signed and dated '75, 89cm x 79cm, framed
£200 - 300
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Magnolias' signed and dated '46, 72cm x 91cm, framed. Illustrated in '*Glyn Morgan at Eighty', by David Buckman, page 13
£300 - 500
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*Glyn Morgan (1926 - 2015), oil on board - Interior with nude, 70cm x 90cm. Exhibited: South Wales Art Society
£60 - 80
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Liszt and Countess Olga at the Villa D'Este', signed and dated '84, 92cm x 81cm, framed. Illustrated in '*Glyn Morgan at Eighty', by David Buckman
£300 - 500
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*Glyn Morgan (1926 - 2015), oil on canvas - 'Offerings and Memories', signed and dated, 150cm x 167cm, framed
£400 - 600
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*Glyn Morgan (1926 - 2015), oil on canvas - 'The Song of The Earth III', signed and dated '02, 102cm x 118cm, signed
£300 - 500
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