Sir William Reid Dick (British, 1878-1961) A bronze figure of 'The Catapult' or 'Slingshot Boy', 67cm high (26 3/8in high) overall.

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Lot 54AR TP
Sir William Reid Dick
(British, 1878-1961)
A bronze figure of 'The Catapult' or 'Slingshot Boy',
67cm high (26 3/8in high) overall.

Sold for £ 10,200 (US$ 13,585) inc. premium
Sir William Reid Dick (British, 1878-1961)
A bronze figure of 'The Catapult' or 'Slingshot Boy',
the nude figure twisting to the right and aiming his catapult, the naturalistic base signed and dated W. Reid Dick 1911, mounted on veined green marble rectangular plinth base, the figure 63cm. high (24 13/16in high), 67cm high (26 3/8in high) overall.

Footnotes

  • Provenance
    Christie's, Furniture, Works of Art & Carpets, 13th September 2005, lot 263

    Reid Dick first exhibited his bronze of 'The Catapult' or 'The Slingshot' as it was alternatively known at the Royal Academy in 1911. Measuring 60cm high, this large scale version was first cast by the Italian founder Giovanni Galizia at the Parlanti foundry and is now in the Bradford City Art Gallery, Cartwright Hall. Later reductions in two sizes, 60cm and a smaller and more common 33cm high were cast by Galizia in his own foundry although the model was subsequently cast after the first world war by other foundries. The Victorian Web states that examples of the large size cast measuring 60cm high are rare, citing the Bradford example as being the only known recorded example of this size held in a British public collection.

    The present bronze measuring 63cm high is however evidently rarer still, as it corresponds in height with an apparently unique bronze figure of the same subject sold in these rooms as lot 297, 4 November 2015, Fine English Furniture, Sculpture & Works of Art, sale 22305, which had direct provenance to the sculptor and family descendants. This figure was marked with the foundry stamp for the Morris Singer Foundry, dating it to no earlier than 1927 when the foundry firms of Morris and Singer merged. In addition the surface of this figure, much like the present lot, had a distinctive Verdigris green tone which apparently was Reid Dick's preferred surface finish for patination when he oversaw the casting and finishing process. As such, it is possible that the present lot, although unmarked, may also date from the same period.

    Literature
    D. Wardleworth, William Reid Dick, Sculptor, Ashgate, p.160
    H. Granville Fell, Sir William Reid Dick, KCVO, RA, London, 1945, pl. 2
    J. Cooper, Nineteenth Century Romantic Bronzes: French, English and American Bronzes 1830-1915, Devon, 1975, pp. 97-8
    B. Read, J. Barnes and A. Kader, Leighton and his Sculptural Legacy: British sculpture 1875–1930, London, 1996, p.56
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