Ivor Roberts-Jones

United Kingdom (19131996 ) - Artworks
ROBERTS-JONES Ivor Maquette For The Winston Churchill Monument In Parliament Square

Christie's /Nov 12, 2009
55,549.39 - 88,879.03
Not Sold

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Artworks in Arcadja
35

Some works of Ivor Roberts-Jones

Extracted between 35 works in the catalog of Arcadja
Ivor Roberts-Jones - Winston Churchill

Ivor Roberts-Jones - Winston Churchill

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Lot number: 43
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Ivor Roberts-Jones (British, 1916-1966) Winston Churchill numbered '189' (on the bronze base) bronze with a brown patina on a concrete base 52.1 cm. (20 1/2 in.) high (excluding base) Conceived as an edition of 500 Together with certificate of authenticity signed by the artist.
Ivor Roberts-Jones - Maquette For The Winston Churchill Monument In Parliamentsquare

Ivor Roberts-Jones - Maquette For The Winston Churchill Monument In Parliamentsquare

Original 1983
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Lot number: 31
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Ivor Roberts-Jones, R.A. (1913-1996) Maquette for the Winston Churchill Monument in ParliamentSquare stamped with foundry mark, with estate mark, numbered and dated'IR-J 2001/A/C3' (on the base) bronze with a dark brown patina 22½ in. (57.2 cm.) high The present work is number 3 in an edition of 3 which was orderedand owned by the sculptor's widow, Mrs Monica Roberts-Jones in2001. Cast from the original studio plaster by Meridian Foundryunder the supervision of Nigel Boonham, F.R.B.S. Please note that this lot has been withdrawn. Studio of Ivor-Roberts-Jones; Christie's, South Kensington, 24November 2005, lot 50 (£114,000), where purchased by the presentowner. P. Cannon-Brookes, Ivor Roberts-Jones, London, 1983, pp.51-59. In 1970, The Royal Fine Arts Commission (members at that timeincluded Henry Moore, O.M., C.H., and John Piper, C.H.) approachednine sculptors to compete for the Parliament Square WinstonChurchill Monument commission. Two of these, Ivor Roberts-Jones andOscar Nemon, were selected to submit revised proposals and byNovember 1970, the Commission had selected Roberts-Jones as thesculptor. The finished 12 feet high bronze statue was subsequentlyunveiled in Parliament Square in 1973. Roberts-Jones' brilliant portrayal of Churchill exudes totalconfidence: 'facing the Houses of Parliament, their greatestservant in modern times is portrayed as a giant at the height ofhis powers' (see P. Cannon-Brookes, Ivor Roberts-Jones, London,1983, p. 57).
Ivor Roberts-Jones - Sir Winston Churchill, Maquette For The Monument In Parliamentsquare

Ivor Roberts-Jones - Sir Winston Churchill, Maquette For The Monument In Parliamentsquare

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Lot number: 332
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Ivor Roberts-Jones, R.A. (1913-1996) Sir Winston Churchill, maquette for the monument in ParliamentSquare numbered '35' (on the bronze base) bronze with brown patina, on a stone base 24 in. (61 cm.) high (including the stone base) This work is from a limited edition of 1,500. This lot is accompanied by the original Heritage Clubcertificate signed by the artist.
Ivor Roberts-Jones - Maquette For The Winston Churchill Monument In Parliament Square

Ivor Roberts-Jones - Maquette For The Winston Churchill Monument In Parliament Square

Original
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Lot number: 46
Other WORKS AT AUCTION
Description:
Ivor Roberts-Jones, R.A. (1913-1996) Maquette for the Winston Churchill Monument in Parliament Square stamped with foundry mark, with estate mark, numbered and dated 'IR-J 2001/A/C3' (on the base) bronze with a dark brown patina 22½ in. (57.2 cm.) high The present work is no. 3 in an edition of 3 which was ordered and owned by the sculptor's widow, Mrs Monica Roberts-Jones in 2001. Cast from the original studio plaster by Meridian Foundry under the supervision of Nigel Boonham, F.R.B.S. In circa 1973 the Foundry produced an edition of the maquette which was not cast with the base at the complete height (edition number unknown).
Ivor Roberts-Jones - Study Of Sir Kyffin Williams

Ivor Roberts-Jones - Study Of Sir Kyffin Williams

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Lot number: 31
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Ivor Roberts-Jones, R.A. (1913-1996) Study of Sir Kyffin Williams inscribed 'Kyffin sees the statue in a fairly complete state' (onthe reverse) and with studio stamp (on the backboard) pastel and pencil 9¼ x 8¾ in. (23.5 x 22.3 cm.) with inscription 'I confirm to be the work of IvorRoberts-Jones/KWBack' (on the reverse). Ken Back was Roberts-Jones'son-in-law and compiled the extensive studio catalogue with BridgetHeriz. Works from the Studio of Ivor Roberts-Jones, R.A.(1913-1996) Ivor Roberts-Jones, R.A. (1913-1996) by Sir Kyffin Williams, O.B.E., R.A. I first became friends with Ivor shortly after the war in which hehad served with the Welsh Division of the Royal Artillery, havingvolunteered for the Army straight from the R.A. Schools. An immediate point of contact was epilepsy. I am epileptic andIvor's son, who died young, was a chronic sufferer. Our Welshness, of course, was another bond. Like otherdistinguished Welsh artists, notably Augustus John, Ivor had aWelsh father and an English mother. His father, a solicitor, whopractised in Oswestry, had played football for Wales. Ivor was small and bird like, in fact a typical Welshman to lookat. However, he did not sound Welsh, if anything, he had an Oxfordaccent. Ivor always had an odd relationship with Wales. He couldn'tkeep away from the place, yet he didn't like it. He always saidthat he couldn't make friends there and yet so many of hiscommissions sprang from his Welshness. These included the AugustusJohn monument (see lot 33), the portrait busts for the WelshNational Portrait Collection in the National Museum of Wales andhis monumental bronze, inspired by ancient Welsh legend, outsideHarlech Castle. Our friendship endured until his death. He was the most honest ofmen and also one of the most sensitive. He was also opinionated andhad an inveterate streak of contrariness. Invariably he would entermy studio and praise the least good work, usually half hiddenbehind the curtains. So I soon took to putting my best piece behindthe curtain and the worst on the easel. I sat for him twice. Thesecond bronze, a bust, is now in the National Museum of Wales (seelots 31 and 32). Like so many Welsh, spontaneity was his thing: the lighteningsketch of an animal, the brilliant characterization of a sitter,achieved in one sitting. This quality is also apparent in his mostfamous work, the Winston Churchill monument in Parliament Square(lots 46-52). He looked upon it as a great imposing lump. Lesserartists would have fiddled with the detail, but Ivor was abrilliantly intuitive modeller, who in Winston Churchill achievedthe ultimate goal of all figurative artists, the reconciliation ofabstraction and reality. When he was at work on the Churchill monument, I visited him inSuffolk to inspect progress. "You have the coat all wrong" I observed, "I've got my great coatin my van. I'll act as your model". At the end of the session, Monica, his wife, appeared and said,"that's so much better". The sculpture is a masterpiece - arguably one of the greatestproduced in Britain in the late twentieth century. The Churchillstatue is charismatic - ordinary people like it - and of coursethat's fatal in the contemporary art world. Ivor has been very muchoverlooked by the art establishment and I am very annoyed by thislack of justice. Ivor Roberts-Jones was an immaculate, in fact pre-eminent,draughtsman, a brilliant sculptor with an uncanny ability tointerpret the characters of his sitters, a superb modeller ofanimals and an artist in everything he did. His reputation can onlybe enhanced over the years to come. Exhibited Ipswich, Wolsey Gallery, Christchurch Mansion, December 1999 -January 2000, no. B/H L19. Essex, Chappel Galleries, July - August 2000, no. 17.
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