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Frederick Edward Mc William

(1909 -  1992 )
MC WILLIAM Frederick Edward Maquette For Elisabeth Frink

Sotheby's
Sep 18, 2018
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Artworks in Arcadja
23

Some works of Frederick Edward Mc William

Extracted between 23 works in the catalog of Arcadja
Frederick Edward Mc William - Maquette For Elisabeth Frink

Frederick Edward Mc William - Maquette For Elisabeth Frink

Original 1956-57
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Gross Price
Lot number: 105
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Description:
Frederick Edward Mc William, R.A. MAQUETTE FOR ELISABETH FRINK signed and numbered 4/5 bronze height: 32cm.; 12½in. Conceivedcirca1956-7, the present work is number 4 from the edition of 5. Provenance Waddington Galleries, London, where acquired by the family of the present owner, circa the late 1960s, and thence by descent Catalogue Note We are grateful to Dr Riann Coulter of the F.E. Mc William Gallery & Studio, Banbridge, Co. Down and to Dr Denise Ferran for their kind assistance with the cataloguing of the present work.
Frederick Edward Mc William - Seated Woman Ii

Frederick Edward Mc William - Seated Woman Ii

Original
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Gross Price
Lot number: 53
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Frederick Edward Mc William, R.A. SEATED WOMAN II Senior Director Head of Sotheby's Ireland + 353 1 644 0200 1909-1992 signed with initials bronze 24 by 38cm., 9½ by 15in. Executed in 1961 in an edition of 5. Read Condition Report Register or Log-in to view condition report Or Provenance The artist, and thence by descent to the present owner Literature Denise Ferran and Valerie Holman, The Sculpture of F. E. Mc William,2012, no.229, p.133, illustrated
Frederick Edward Mc William - June Bloomsday

Frederick Edward Mc William - June Bloomsday

Original
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Lot number: 106
Other WORKS AT AUCTION
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Frederick E. Mc William HRUA RA (1909-1992)16th June Bloomsday (Banner series) Bronze, 23cm high x 22cm wide x 12cm diameter (9 x 8¾ x 4¾'') Signed with initials and numbered 1/5 Exhibited: 'F.E. Mc William Retrospective' travelling exhibition, Arts Council of Ireland, The Ulster Museum, April/May 1981, Douglas Hyde Gallery, May/June 1981, Crawford Gallery, Cork, July/August 1981, Cat. No. 123. Literature: 'The Sculpture of F.E. Mc William' by Denise Ferran and Valerie Holmes, 2012, Cat. No. 432 illustrated P162.After working on his ''Women of Belfast'' series between 1972 - 74, Mc William turned his attention from the victims of the troubles in Northern Ireland to the survivors. A prologue to the new series ''Banners'' was a piece called ''Survivor'' which he completed early in 1975. He then started ''Banners'' - women as survivors and campaigners for peace: ''United as mothers across the religious and political divide we marched through towns, held rallies, galvanised speakers''. This series shows again that Mc William had not lost his Ulster roots and was concerned about what was happening there. He continued with this ''Banner'' series until the end of 1976 completing 30 different pieces in the series some of which contained non- Ulster references like this one with its Joycean reference or ''Buy more art'' and other witty titles. We thank Dr Denise Ferran whose various writing on F.E. Mc William formed the basis of this catalogue entry.
Frederick Edward Mc William -  Crossed Legs

Frederick Edward Mc William - Crossed Legs

Original
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Lot number: 115
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Description:
Frederick E. Mc William HRUA RA (1909-1992) , Crossed Legs (1978) , Bronze, 38 x 40 x 28cm (15 x 15¾ x 11'') Signed with initials and numbered 4/5 Cast by the Fiorini Foundry Plaster maquette, collection of F.E.Mc William Gallery and Studio; edition 1/5, coll. Ulster Museum, Belfast, purchased 1980. Provenance: edition 4/5, purchased from the artist , s studio by the present owners, 1981. Literature: Mc William , s notebook, work is numbered 78.10, ie the 10 , th , work of 1978. When he embarked on his series of of , Legs , 1977 , 1981, , he began the practice of making small accurate sketches of each work beside his notebook entry, which was not just for his won identification, but for the foundries, in this case the Fiorini Foundry, with whom he worked closely , . , The Sculpture of F.E.Mc William , Ferran & Holman, Lund Humphries, 2012. Exhibited: 'FE Mc William', Taylor Gallery Dublin 1979; 'FE Mc William Retrospective', the Arts Councils of Northern Ireland, 1981, cat. no. 143; exhibition tour, Ulster Museum, Belfast, April - May; Douglas Hyde Gallery, Dublin, May , June; Crawford Municipal Gallery, Cork, July , August. Tate Gallery, 1989, cat. no. 64, illus. p. 63; Beaux Arts, Bath, 1991; Shambles Gallery, Hillsborough, Co. Down, 2003; Inaugural exhibition at the F.E.Mc William Gallery & Studio, 2008, exh.cat., illus. p.110. Women of Belfast , and , Woman in a Bomb Blast , were a highly charged response by Mc William to the devastating bombs in Belfast and in particular the bombing of the Abercorn restaurant in 1971. This series was followed by the , Banners , which again focused on the Northern Ireland problems, a series instigated by the Peace People, mainly women, including his longtime friend Sheelagh Flanagan and many others, who marched for peace. After five years, reacting through his work to the effect of politics, Mc William or , Mac , as he was, affectionately called, by his friends, turned for respite to the subject matter he loved most, the beauty and form of female legs. The walls of his studio in Holland Park had many photographs of female forms, especially legs, some from Selfridges advertisements for ladies , tights. The capriciousness of Mc William , s imagination, used the subject of women , s legs as a means to create movement, beauty and intrigue. His observation of Indian carvings, especially in the temples of Orissa, which he studied first hand, informed him that the entire human form did not need to be present to give meaning to the subject. His return to the Surrealist idea of complete fragment and his use of legs, to convey this, as here in , Crossed Legs , provides all the sensuality, smoothness and playfulness, as ever associated with the subject, stopping short of eroticism. His ability to give meaning in every foot movement and toe position portrays his love of fun and admiration for the female form. His friendship with the Dublin born ballerina, Ninette de Valois (1898 , 2001) founder of the Royal Ballet, whose portrait he carved in 1963, influenced him greatly, leading to his love of ballet and an appreciation of such an exacting art form in which arm and leg movement were paramount. Feet were important to Mc William as a means to express emotions whether terror in , which to him were , the women as victims of man , s stupidity , or the joy, anticipation and excitement in
Frederick Edward Mc William - Loving Cup

Frederick Edward Mc William - Loving Cup

Original 1966
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Lot number: 94
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Description:
Frederick Edward Mc William (British, 1909-1992) Loving Cup signed with initials and numbered 'MCW 1/5' (on the base) polished bronze 35.6 cm. (14 in.) high Conceived in 1966 Provenance Acquired directly from the artist in the 1960s by the family of the present owner Private Collection, U.K. Exhibited Travers Gallery, London, F.E. Mc William, May-June 1969 Belfast, Ulster Museum, F.E. Mc William, organised by the Arts Council of Ireland, April-May 1981, cat.no.82, p.62 (ill., another cast); this exhibition travelled to Dublin, Douglas Hyde Gallery, May-June, Cork, Crawford Art Gallery, July-August and Derry, Orchard Gallery, September-October London, Tate Gallery, F.E. Mc William Sculpture 1932-1989, May-July 1989, cat.no.56 (ill., another cast) Literature Denise Ferran & Valerie Holman, The Sculpture of F.E. Mc William, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.146, cat.no.308 (ill.b&w, another cast) Mc William was awarded the prize for sculpture with this work at the 1971 Oireachtas exhibition in Dublin. Ferran notes that '1971 was a very violent year in Northern Ireland's 'Troubles' so Mc William's participation in the Oireachtas and the title of the work submitted are significant' (Denise Ferran & Valerie Holman, The Sculpture of F.E. Mc William, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.146).
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