Clement Meadmore Paintings & Artwork for Sale | Clement Meadmore Art Value Price Guide

Dec. 07, 2024
Clement Meadmore, New York / Australia (1929-2005), Flurry, 1977, bronze, ed. 3/12
Est: $8,000 - $12,000
Clement Meadmore New York / Australia, (1929-2005) Flurry, 1977 bronze, ed. 3/12 Signed and numbered at the base. Provenance: The sculpture was purchased 12/4/1997, Selkirks St. Louis MO, from the estate of Marjorie Wyman. Ms. Wyman was an astute collector, gifting several objects to the St. Louis Art Museum.
Link Auction Galleries
Nov. 27, 2024
CLEMENT MEADMORE 1929-2005 Open End 1983 bronze, edition 4 of 6 66 x 177.8 x 73.7 cm
Est: $150,000 - $250,000
CLEMENT MEADMORE 1929-2005 Open End 1983 bronze, edition 4 of 6 signed, dated and inscribed ‘Meadmore 1983 4/6' on base 66 x 177.8 x 73.7 cm PROVENANCE Clement Meadmore, New York Sound Shore Gallery, Stamford, Connecticut G.E. Corporate Art Collection, acquired from the above in 1989 Modern & Contemporary Art, Heritage Auctions, Dallas, 19 May 2022, lot 77066, illustrated Private Collection, Sydney, acquired from the above EXHIBITED Clement Meadmore, Sand Shore Gallery, Stamford, Connecticut, 1989 LITERATURE Eric Gibson, The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, pp. 100, 101 (illustrated, another example)
Smith & Singer
Oct. 24, 2024
Clement Meadmore, Australian 1929-2005, Wingspan, Bronze Sculpture
Est: $7,000 - $10,000
Clement Meadmore Australian, 1929-2005 Wingspan Bronze Sculpture Signed, dated 1996, and numbered 1/8, on black marble base. Provenance: Property from the NAMITS Collection
Nye & Company
Oct. 02, 2024
Upstart II
Est: $15,000 - $20,000
Clement Meadmore 1929 - 2005 Upstart II incised with the artist’s signature, and stamped with the date 1968, number 1/4 and foundry mark TREITEL-GRATZ (on the underside) painted steel 30 by 18 by 18 in. 76.2 by 45.7 by 45.7 cm. Executed in 1968, this work is number 1 from an edition of 4.
Sotheby's
Sep. 11, 2024
CLEMENT MEADMORE, DC601S Chairs (4) h. 95, w.40.5, d.45 cm
Est: $2,000 - $3,000
CLEMENT MEADMORE DC601S Chairs (4) black coated steel, rubber and brass caps manufactured by Michael Hirst Pty Ltd.
Lawsons
Sep. 11, 2024
CLEMENT MEADMORE, DC601S Chairs (4) h. 95, w.40.5, d.45 cm
Est: $2,000 - $3,000
CLEMENT MEADMORE DC601S Chairs (4) black coated steel, rubber and brass caps manufactured by Michael Hirst Pty Ltd.
Lawsons
Sep. 11, 2024
CLEMENT MEADMORE, Stools (pair) h. 72, w. 49, d. 49 cm; seat: w.34, d.34 cm
Est: $800 - $1,200
CLEMENT MEADMORE Stools (pair) black steel tubular frame, new white cord
Lawsons
Sep. 11, 2024
CLEMENT MEADMORE, Stools (pair) h. 72, w. 49, d. 49 cm; seat: w.34, d.34 cm
Est: $800 - $1,200
CLEMENT MEADMORE Stools (pair) black steel tubular frame, new white cord
Lawsons
Aug. 28, 2024
CLEMENT MEADMORE, RIFF, 1996
Est: $70,000 - $90,000
CLEMENT MEADMORE (1929 - 2005) RIFF, 1996 bronze 41.0 x 100.0 x 43.0 cm edition: 2/4 signed, dated and numbered at base: Meadmore 1996 2/4 dated, numbered and inscribed with title on base: Riff / 1996 2/4 / A. R. T. PROVENANCE Robin Gibson Gallery, Sydney Private collection, Melbourne Sotheby,s, Melbourne, 17 May 2011, lot 18 John Barnes, Melbourne, acquired from the above The Estate of John Barnes, Melbourne EXHIBITED Clement Meadmore: Sculptures from 1972 to 2004, Robin Gibson Gallery, Sydney, 17 November – 12 December 2007, cat. 16 LITERATURE Denholm, M., ‘Reviews: Clement Meadmore’, Art and Australia, vol. 35, no. 2, 1997, pp. 293 (illus., related work), 294 RELATED WORK Riff, 1996, monumental version, in the collection of Pt Leo Estate Sculpture Park, Mornington Peninsula, Victoria ESSAY ‘I am interested in geometry as a grammar which, if understood, can be used with great flexibility and expressiveness.’1 One of the most highly regarded and internationally acclaimed Australian artists of his generation, Clement Meadmore remains revered for thoughtful, impeccably executed sculptures that unify pure stark geometry with expressive gesture. Invariably constructed from one single square-sectioned beam that has been bent and coiled to the artistic aim of the artist, indeed his masterful constructions evince a seemingly implausible sense of dynamism and musical rhythm that belies their unyielding medium. Whether monumental outdoor commissions or smaller scale domestic maquettes, Meadmore’s forms typically twist, turn and writhe – their suggested animation thus adding a humanising balance to the all-too-often bland immobility and visual harshness of our modern built environments. As Gibson astutely observes, the opposition between line and mass lies at the very core of Meadmore’s sculptures: ‘…in their form they suggest the rapid motion through space of a limb or body… or the residue of such motion. They have more in common with purely aesthetic things such as a drawn line, than with a recognisable object existing in the world even though, by virtue of their sheer physical bulk and size and scale, they are undeniably that…’2 With its title no doubt inspired by the artist’s amateur musicianship and in particular, his predilection for jazz, Riff, 1996 offers a superb example of Meadmore’s constructions from his final decade during which he returned to his dense, coiled sculptures of the 1960s and early 1970s. Such free-flowing exchange of ideas within his own oeuvre was not uncommon for Meadmore, and thus the present maquette – like its large-scale version in painted steel situated in the Pt Leo Estate Sculpture Park on Victoria’s Mornington Peninsula – is strongly reminiscent of earlier works such Dervish, 1972 (Victorian Arts Centre, Melbourne) or Split-Level, 1971 (University of Houston, Texas). Closely related to Wingspan, 1996 executed the same year, Riff nevertheless departs from these coil configurations of previous decades in its more pronounced Baroque flavour. Winding from a central access to a lateral spread with the horizontal axis parallel to the ground and the wings of the sculpture running left and right, each side in different length from the other, the sculpture holds its form and pushes into space convincingly – as so appositely intimated by its title. Evolving in an intuitive manner from a geometric vocabulary in a similar way to a Jazz improvisation, indeed the sculpture encapsulates brilliantly the musical genre of which Meadmore was such a well-known aficionado; as Gibson suggests, ‘Rhythms gather and are released – they pick up momentum and slow down, begin with sudden intensity and stop with equal abruptness. His sculptures simultaneously suggest uninterrupted flow and caesura.’3 1. Meadmore cited at: bluefruitdesign.blogspot.com/2012/01/clement-meadmore-not-just-s...(accessed July 2024) 2. Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, p. 52 3. ibid., p. 57 VERONICA ANGELATOS © Meadmore Sculptures, LLC/VAGA. Copyright Agency, 2024
Deutscher and Hackett
Aug. 27, 2024
Clement Meadmore, (1929-2005), Hereabout, 1971, resin, 23.5 x 14 x 12.5 cm
Est: $1,500 - $2,500
Clement Meadmore (1929-2005) Hereabout, 1971 resin edition 88/150, titled, editioned, signed and dated to base ' Hereabout, 88/150, Meadmore 1971' (A/F)
Shapiro Auctioneers
Jul. 16, 2024
Curl
Est: $20,000 - $30,000
Clement Meadmore 1929 - 2005 Curl inscribed with the artist’s signature, date 1967-68 and number 3/4 (on the underside) painted steel 15 ½ by 32 by 20 in. 39.4 by 81.3 by 50.8 cm. Executed in 1967-68, this work is number 3 from an edition of 4.
Sotheby's
Jul. 11, 2024
CLEMENT MEADMORE (AUSTRALIAN 1929-2005), UNTITLED
Est: £40,000 - £60,000
CLEMENT MEADMORE (AUSTRALIAN 1929-2005)UNTITLEDCor-ten steel 156 x 156cm (61¼ x 61¼ in.)Executed in 1966. Provenance:Ahmet Ertegun (Turkish/American 1923-2006), record producer and philanthropist,co-founder and president of Atlantic Records Private Collection, Robert Stigwood (Australian 1934-2016), music and film producer, acquired from the above Clement Meadmore was an Australian born American sculptor renowned for his monumental pieces of sculpture that embodied the exploration of modernism. Born in Melbourne, Meadmore studied engineering at the Royal Melbourne Institute of Technology. Shortly after enrolling on the course Meadmore converted to industrial design. Meadmore's skills in both engineering and design facilitated his artistic output aiding the successful production of monumental pieces in steel, full of balance and energy. After visiting an outdoor sculpture exhibition at Middelheim Park in Antwerp, Meadmore started experimenting with metalwork and welding. His works during the 1950s represented interlocking vertical and horizontal rods creating textured, jagged grids with a tactile nature. In 1963, frustrated by the contemporary art scene in Australia, Meadmore moved to New York. The present work was executed in 1966 after Meadmore developed a sculpture titled Bent Column, which is now held by the Newport Harbor Art Museum on Newport Beach in California. A contact sheet of twelve black-and-white images, held in the collection of the Estate of Clement Meadmore, illustrates five different sculptures that were produced as he explored new ideas in the aftermath of Bent Column. The fourth row shows the present lot, a c-shaped sculpture, with both loops straightened and twisted at ninety degrees to the broad front of the form. The simplistic, paired back nature of the work which occupies a square-section volume encourages the viewer to explore the relationship between mass and space created by the single geometric form. 'It is important to me that the entire form of a sculpture can be deduced from any single angle, otherwise one is only seeing half a sculpture at any given moment.' Clement Meadmore The present lot was acquired by Ahmet Artegun, the co-founder and president of Atlantic Records. The independent record label was launched to support gospel, R&B and jazz music in New York. The company went on to record hit records with major artists including The Drifters and Ray Charles. Under the pseudonym of 'nuggy' Ertegun was also a successful song-writer, he famously wrote 'Mess Around' for Ray Charles amongst many other hits. Ertegun was a renowned art collector and in 2000, the art collection of Ahmet Ertegun was acquired by The Baker Museum in Naples, Florida. The collection of modern art included important pieces by American abstract artist Irene Rice Pereira, politically driven Gertrude Glass, American modernist Oscar Bluemner and Russian-American abstract painter Illya Bolotowsky amongst others. In 2006, Ertegun tragically died after falling at a Rolling Stones concert at the Beacon Theatre, New York. A year following his death Led Zeppelin performed at the O2 Arena in London as a one-off tribute concert in memory of Ertegun. The concert raised funds for the Ahmet Ertegun Education Fund which supported University scholarships throughout the UK, US and Turkey. The present work was originally installed in the grounds of Ahmet Ertegun's Russian dacha style house in Southampton, New York where he lived with his wife Mica Ertegun. It was noted in Vanity Fair that during the renovations Ertegun had the living room enlarged to accommodate an orchestra. It was most likely during the 1970s that music producer, Robert Stigwood saw the work whilst visiting his friend Ertegun at his Southampton estate. A sale was agreed and Stigwood purchased the work direct from Ertegun. Robert Stigwood was born in Port Pirie, Southern Australia in 1934. By the mid-1950s Stigwood moved to the United Kingdom and went on to become one of the most important music entrepreneurs and film producers of the 20th century. By 1970 Stigwood had achieved great success in managing Cream, Eric Clapton and the Bee Gees. Stigwood then turned his attention to film production launching with Saturday Night Fever (1977) and Grease in 1978.
Dreweatts 1759 Fine Sales
Jun. 25, 2024
Clement Meadmore (Australian, 1929-2005) Set of Four Wire Chairs, designed c. 1955, height 90 cm
Est: $700 - $900
Clement Meadmore (Australian, 1929-2005) Set of Four Wire Chairs, designed c. 1955 manufactured by Michael Hirst, black coated steel rods, minor rust (A/F) (4)
Shapiro Auctioneers
May. 14, 2024
Branching Out
Est: $60,000 - $80,000
Sold to Benefit the Cleveland Museum of Art Clement Meadmore 1929 - 2005 Branching Out bronze 80 by 108 by 87 in. 203.2 by 274.3 by 221 cm. Executed in 1981, this work is number 1 from an edition of 3. This work is being offered for sale from an offsite location and is not at Sotheby’s York Avenue location. Prospective buyers may contact ctpdaysale@sothebys.com with inquiries. Please note that the successful purchaser must use Sotheby’s shipping services for collection and delivery after the auction at the buyer’s expense.
Sotheby's
Apr. 24, 2024
CLEMENT MEADMORE, OUTSPREAD, 1991
Est: $90,000 - $120,000
CLEMENT MEADMORE (1929 - 2005) OUTSPREAD, 1991 bronze 93.0 x 92.0 x 62.0 cm edition: 3/6 signed, dated and numbered at base: Meadmore 2000 3/6 dated, numbered, inscribed with title and monogram on base: "Outspread" / 2000 3/6 / ART PROVENANCE Robin Gibson Gallery, Sydney Private collection, Tasmania, acquired from the above in October 2007 EXHIBITED Clement Meadmore, Robin Gibson Gallery, Sydney, 17 November – 12 December 2007, cat. 13 (another example) RELATED WORK Outspread, 1991, painted aluminium, 1036.5 cm height, Adachi Ward, Tokyo, illus. in Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, p. 122 ESSAY Clement Meadmore is Australia’s most significant and internationally accomplished sculptor. In a career spanning over fifty years, most of which was spent in America, Meadmore’s work featured not only enormous breadth in scale from small-scale maquettes to monumental works – as evidenced by the larger, black-painted aluminium version of Outspread, 1991 (Adachi Ward, Tokyo) – but traversed a wide-ranging scope of complex forms within a minimalist framework. The purity of his formal conceptions and command of materials ensure that each sculpture is a consummate example showcasing an uncompromising eloquence and weightlessness – whether it is 30cm high or over 10 metres. Furthermore, each sculpture complies to the maxim of being viewed independently but successfully from every vantage, no matter the scale, in order that the form can exude its presence be it through its rhythm, physicality, or innate energy, to inhabit, shape and extend into the environment. Meadmore’s early work initially depicted encrusted welded vertical rods, later moving to the raw uneven interconnected slabs of metal, before mastering and elaborating on the tenets of American minimalist sculptors, exemplified in the work of Tony Smith, Donald Judd and Richard Serra amongst others. In Meadmore’s mature work, Eric Gibson has observed roughly three main phases: the dense coiled sculptures of the 1960s; the sculptures composed of multiple parts made in the 1970s; and the branching sculptures of the 1980s.1 Each period reflects a meticulous and often unsettling fusion of uncompromising balance and tension – a relentless quest to make inert and unyielding materials (mostly bronze or aluminium) come alive. Whether taking the shape of tightly compacted coils, elegant musical note-like forms, or divergent angles or shapes, the sculpture must reflect the mastery of form through the now manipulated and exquisitely shaped material. Outspread, 1991 belongs to Meadmore’s late period in which he looked back on his body of work as a resource to be retrospectively considered, evaluated and progressed. The divided angles expressed in Outspread, refer to a body of work completed in the 1980s such as Outcome, 1983; Offshoot, 1982; and Aside, 1983. In Outspread, Meadmore contemplates the exquisite tension of opposing sharply sliced angles which have been split and turned away from their original rectangular source. The energy of the protruding spliced angles penetrates the inhabited space, offering a sense of magnitude whilst resting on Meadmore’s iconic vertically curved rod-shaped base. Meadmore is in his element, converting an intractable material bronze into a free, spontaneous, and complex moving form. 1. Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, p. 112 FIONA HAYWARD © Meadmore Sculptures, LLC/VAGA. Copyright Agency, 2024
Deutscher and Hackett
Mar. 26, 2024
Clement Meadmore (Australian, 1929-2005) Set of Eight Wire Chairs, designed c. 1955, height 90 cm
Est: $4,000 - $6,000
Clement Meadmore (Australian, 1929-2005) Set of Eight Wire Chairs, designed c. 1955 manufactured by Michael Hirst, black coated steel rods (8)
Shapiro Auctioneers
Nov. 29, 2023
Clement Meadmore 1929-2005 Modernist Art Sculpture
Est: $1,000 - $3,000
Clement Meadmore (Australian American, 1929-2005). A limited edition resin composition statue. Titled, "Hearabout." A Postmodern artwork in a curved design with a matte black finish. From an edition of 150. Signed with title and date on base MEADMORE HEARABOUT 1971. Dimensions: 10.25 X 5.75 X 4.5 in. Condition: Good overall condition with age related surface wear from use. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $65 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request.
Hill Auction Gallery
Nov. 29, 2023
CLEMENT MEADMORE (1929-2005), Open End 1984
Est: $25,000 - $30,000
CLEMENT MEADMORE (1929-2005) Open End 1984 bronze 15.0 x 30.0 x 14.0 cm edition: Artist’s Proof 3/3 (edition of 9) signed, dated and numbered to base: Meadmore '84 AP III/III Tallix Foundry, New York, stamped to base
Menzies
Nov. 22, 2023
CLEMENT MEADMORE, SCRONCH, 1994
Est: $35,000 - $45,000
CLEMENT MEADMORE (1929 - 2005) SCRONCH, 1994 bronze 23.0 x 28.5 x 21.0 cm edition: 5/8 signed, dated and numbered at base: Meadmore 1994 5/8 dated, numbered and inscribed with title on base: ‘Scronch’ / 1994 5/8 / ART PROVENANCE The Clement Meadmore Foundation, New York David Klein Gallery, Birmingham, Michigan, USA Leslie Hindman Auctioneers, Chicago, USA, 14 December 2017, lot 7 Private collection, Sydney Deutscher and Hackett, Melbourne, 28 November 2018, lot 45 Private collection, Sydney ESSAY ‘I am interested in geometry as a grammar which, if understood, can be used with great flexibility and expressiveness.’1 One of the most highly regarded and internationally acclaimed Australian artists of his generation, Clement Meadmore remains revered for thoughtful, impeccably executed sculptures that unify pure stark geometry with expressive gesture. Invariably constructed from one single square-sectioned beam that has been bent and coiled to the artistic aim of the artist, indeed his masterful constructions evince a seemingly implausible sense of dynamism and musical rhythm that belies their unyielding medium. Whether monumental outdoor commissions or smaller scale domestic maquettes, Meadmore’s forms typically twist, turn and writhe – their suggested animation thus adding a humanising balance to the all-too-often bland immobility and visual harshness of our modern built environments. As Gibson astutely observes, the opposition between line and mass lies at the very core of Meadmore’s sculptures: ‘…in their form they suggest the rapid motion through space of a limb or body…or the residue of such motion. They have more in common with purely aesthetic things such as a drawn line, than with a recognisable object existing in the world even though, by virtue of their sheer physical bulk and size and scale, they are undeniably that…’2 Bearing a title that evokes the notion of something being crushed, crunched or crumpled, Scronch, 1994 offers a superb example of Meadmore’s constructions from his final decade during which he returned to his dense, coiled sculptures of the 1960s and early 1970s. Such free-flowing exchange of ideas within his own oeuvre was not uncommon for Meadmore, and thus the present maquette is strongly reminiscent of large-scale sculptures such as Hunch, 1974 (Metropolitan Museum of Art, New York) or Clench, 1972 (Kitz Valve Co., Makuhari, Japan. Closely related to works such as Terpsichore, 1993 (Smith College Museum of Art, Massachusetts) and Helix, 1993 (Collection of the artist’s estate), both executed the year prior, Scronch nevertheless departs from the coil configurations of previous decades in its more pronounced Baroque flavour. Evolving in an intuitive manner from a geometric vocabulary in a similar way to a Jazz improvisation, moreover these creations all share unmistakable affinities with the musical genre of which Meadmore was a well-known aficionado; as Gibson suggests, ‘Rhythms gather and are released – they pick up momentum and slow down, begin with sudden intensity and stop with equal abruptness. His sculptures simultaneously suggest uninterrupted flow and caesura.’3 1. Meadmore cited at: https://bluefruitdesign.blogspot.com/2012/01/clement-meadmore-not-just-sculpture.html (accessed October 2023) 2. Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, p. 52 3. ibid., p. 57 © Meadmore Sculptures, LLC/VAGA. Copyright Agency, 2023
Deutscher and Hackett
Nov. 21, 2023
§ CLEMENT MEADMORE 1929-2005 Catwalk 1988 steel and paint, edition 3 of 3 38.1 x 106.7 x 35.6 cm
Est: $45,000 - $65,000
§ CLEMENT MEADMORE 1929-2005 Catwalk 1988 steel and paint, edition 3 of 3 signed, dated and inscribed 'Meadmore '88 3/3' on base 38.1 x 106.7 x 35.6 cm PROVENANCE Clement Meadmore, New York G.E. Corporate Art Collection Modern & Contemporary Art, Heritage Auctions, Dallas, 19 May 2022, lot 77065, illustrated Private Collection, Sydney, acquired from the above
Smith & Singer
Aug. 24, 2023
CLEMENT MEADMORE THREE CORDED CHAIRS
Est: $500 - $600
CLEMENT MEADMORE THREE CORDED CHAIRS Black painted wrought iron frames with original green cotton cording. Rubber ball features with rubber feet. Australia Designed 1952 81h x 42.5w x 49d
Leonard Joel
Aug. 23, 2023
CLEMENT MEADMORE 1929-2005 Meditation (1974) bronze, edition 2 of 6 100 x 40 x 40 cm
Est: $100,000 - $140,000
CLEMENT MEADMORE 1929-2005 Meditation (1974) bronze, edition 2 of 6 signed and inscribed 'Meadmore 2/6' on base 100 x 40 x 40 cm PROVENANCE Clement Meadmore, New York Private Collection, Sydney, acquired from the above LITERATURE Eric Gibson, The Sculpture of Clement Meadmore, Hudson Hills Press, New York, 1994, p. 72 (illustrated, another example)
Smith & Singer
Aug. 16, 2023
CLEMENT MEADMORE, CROSSING, 1997
Est: $18,000 - $24,000
CLEMENT MEADMORE (1929 - 2005) CROSSING, 1997 bronze 18.0 × 28.0 × 20.0 cm edition: 2/8 signed, dated and numbered at base: Meadmore 97 2/8 PROVENANCE Im Obersteg Collection, Basel, Switzerland Stuker Auctions, Zurich, Switzerland Private collection, Sydney Deutscher and Hackett, Sydney, 13 September 2016, lot 64 Private collection, Melbourne © Meadmore Sculptures, LLC/VAGA. Copyright Agency, 2023
Deutscher and Hackett
Aug. 09, 2023
CLEMENT MEADMORE THREE CORDED CHAIRS
Est: $700 - $1,000
CLEMENT MEADMORE THREE CORDED CHAIRS Black painted wrought iron frames with original green cotton cording. Rubber ball features with rubber feet. Australia Designed 1952 81h x 42.5w x 49d
Leonard Joel
Jul. 27, 2023
Clement Meadmore (Australian/American, 1929-2005) Switchback, 1980
Est: $10,000 - $15,000
Clement Meadmore (Australian/American, 1929-2005) Switchback, 1980 bronze inscribed Meadmore, dated and numbered 6/6 27 x 15 x 9 inches.
Freeman’s | Hindman
Jul. 19, 2023
The Saints
Est: $7,000 - $9,000
Clement Meadmore 1929 - 2005 The Saints stamped with the foundry mark Morris Singer (lower edge) bronze 8 by 6¾ in. 20.3 by 17.1 cm. Executed in 1978.
Sotheby's
Jul. 17, 2023
CLEMENT MEADMORE THREE CORDED CHAIRS
Est: $1,000 - $1,400
CLEMENT MEADMORE THREE CORDED CHAIRS Black painted wrought iron frames with original green cotton cording. Rubber ball features with rubber feet. Australia Designed 1952 81h x 42.5w x 49d
Leonard Joel
May. 17, 2023
Clement Meadmore, serigraph, 1972
Est: $500 - $700
Clement Meadmore (Austrailian-American,1929-2005), "Split Ring 2D", pencil signed, titled, dated and numbered 29/125 along lower margins, slat framed under glass, 34"h x 30"w (total)
Millea Bros Ltd
May. 02, 2023
§ CLEMENT MEADMORE 1929-2005 Warm Valley 1994 bronze, edition 3 of 8
Est: $40,000 - $60,000
§ CLEMENT MEADMORE 1929-2005 Warm Valley 1994 bronze, edition 3 of 8 signed, dated and inscribed 'Meadmore 1994 3/8' on base 19.5 X 42 X 22 cm PROVENANCE Clement Meadmore, New York Private Collection, New York Contemporary Art, Swann Galleries, New York, 12 May 2022, lot 378, illustrated Private Collection, Sydney, acquired from the above
Smith & Singer
Apr. 03, 2023
CLEMENT MEADMORE / MICHAEL HIRST PRINCIPLE COFFEE TABLE
Est: $1,000 - $1,500
CLEMENT MEADMORE / MICHAEL HIRST PRINCIPLE COFFEE TABLE Marble top on brass legs. Australia c 1950s 38h x 107w x 40.5d
Leonard Joel
Mar. 16, 2023
CLEMENT MEADMORE SIGNED VOLUME
Est: $30 - $50
Volume, "The Sculpture of Clement Meadmore", Hudson Hills Press, 1994, signed by Meadmore and inscribed to Dick Polich, 1999. Measures: H 11 1/4" x W 11 1/4"
Austin York LLC
Feb. 22, 2023
Clement Meadmore (American, 1929-2005), Hereabout, 1971, resin, 9 1/4 x 5 1/2 x 5in (23.5 x 14 x 13cm)
Est: $1,500 - $2,000
Clement Meadmore (American, 1929-2005) Hereabout, 1971 resin inscribed Meadmore, dated and numbered 39/150
Andrew Jones Auctions
Feb. 21, 2023
CLEMENT MEADMORE (AUSTRAILIA 1929-2005) "OPEN END"
Est: $1,000 - $5,000
Clement L. Meadmore (AUSTRALIAN / AMERICAN / NEW YORK, 1929 - 2005) limited edition gold patinated Bronze abstract sculpture titled "Open End" mounted atop a rectangular verde granite plinth. Signed, dated 1984 and numbered 4/9 on bronze near base. Measures 5 1/2" height x 13" width x 5 3/4" height overall including base. Provenance: Acquired from South Florida private estate. Previous similar sales: Sotheby's, lot 152 on September 25th, 2018 with a hammer price of $12,500.00 USD, edition number 9 of 9.
Elite Auctioneers, LLC
Nov. 23, 2022
CLEMENT MEADMORE (1929-2005), Always 1991
Est: $80,000 - $100,000
CLEMENT MEADMORE (1929-2005) Always 1991 bronze 77.0 x 44.0 x 54.0 cm edition: 1/6 signed, numbered and dated to base: Meadmore 1/6 91
Menzies
Nov. 17, 2022
CLEMENT MEADMORE Up Ended.
Est: $12,000 - $18,000
CLEMENT MEADMORE Up Ended. Patinated welded steel, 1969. 1385x380x410 mm; 54 1/2x15x16 1/8 inches. Edition of 4. Fabricated by Lippincott, Inc., North Haven, Connecticut, with the foundry stamp on the underside. Meadmore Sculptures, LLC archives have confirmed that the present work is the third of four in the edition. Provenance: Acquired from Max Hutchinson Gallery, New York, by current owner, private collection, New York. A larger version of Up Ended, made of Cor-ten steel and more than 20 feet long, by Meadmore (1929-2005) is installed near the Art, Design & Architecture Museum on the campus of University of California, Santa Barbara.
Swann Auction Galleries
Nov. 14, 2022
IN THE STYLE OF CLEMENT MEADMORE SET OF FOUR STOOLS
Est: $1,800 - $2,400
IN THE STYLE OF CLEMENT MEADMORE SET OF FOUR STOOLS Black painted metal frames with coloured cording in orange, red, green, and black. Australia c 1950s 94h x 36w x 47d
Leonard Joel
Sep. 29, 2022
CLEMENT MEADMORE CHAIR
Est: $1,000 - $1,500
Clement Meadmore leather sling chair with polished chrome metal base. Very good looking chair with just enough patina on the leather to be elegant. Size: 28.5"H x 28.5"W x 25"D
Ashcroft and Moore
Sep. 28, 2022
Clement Meadmore (Australian 1929-2005) Upcast, 1985
Est: $60,000 - $80,000
Clement Meadmore (Australian 1929-2005) Upcast, 1985 aluminium with matte black finish from the edition of 6 Height: 100 inches. Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, OH Provenance: Brett Mitchell Collection, Cleveland Acquired by the present owner from the above in 1987 Note to the buyer: This work is currently in situ in Cleveland, OH. The shipment of the work from Cleveland will be at the buyer's expense.
Hindman
Sep. 24, 2022
Clement Meadmore Sculpture, Caboodle
Est: $1,000 - $2,000
Clement Meadmore (Australian 1929-2005) Caboodle, 1988, from the Planar Series, patinated steel and painted rods, signed Meadmore and dated, 1988, numbered 2/9. With original brochure. Dimensions: 4.5 x 8 x 5 in. Weight: 9.5 oz. Provenance: Donald Morris Gallery, Birmingham, MI.
Neue Auctions
Sep. 24, 2022
Clement Meadmore Bronze, Untitled
Est: $15,000 - $25,000
Clement Meadmore (Australian 1929-2005) Untitled, 1980, bronze with patination, signed and dated, numbered 1/6, raised on pedestal base. Dimensions: 18.5 x 26 x 12 in, bronze only. Ht. with pedestal 59 in. Condition: Light oxidation to patina and minor scuffs.
Neue Auctions
Sep. 13, 2022
Clement Meadmore (1929-2005)
Est: $6,000 - $8,000
Hereabout, 1971 resin, edition 46/150, signed, dated and editioned on base 'Meadmore 1971 46/150'
Shapiro Auctioneers
Aug. 24, 2022
Clement Meadmore (1929-2005) sling lounge chair, model 248 28 1/2"w x 22"d x 29"h
Est: $500 - $700
Clement Meadmore (1929-2005) sling lounge chair, model 248 New York, New York, designed 1963 / produced 1980s chrome-plated steel, black hide leather unmarked Production is attributed to Leif Wessman Associates. 28 1/2"w x 22"d x 29"h
Toomey & Co. Auctioneers
Jun. 29, 2022
CLEMENT MEADMORE (1929-2005), Warm Valley 1994
Est: $100,000 - $150,000
CLEMENT MEADMORE (1929-2005) Warm Valley 1994 bronze 61.0 x 110.5 x 53.0 cm edition: 1/4 signed, dated and numbered to base: Meadmore 1994 1/4
Menzies
May. 28, 2022
Clement Meadmore Bronze, Open End
Est: $5,000 - $7,000
Clement Meadmore (American/Australian 1929-2005) Open End, 1984, bronze with golden brown patination, signed and dated, numbered AP II/III, with foundry mark for TallixÂ Foundry,Â Â mounted on green granite base. Dimensions: 5.75 in.h. x 12 in. w. x 6 in.d. Height measurement includes base. Condition: Some light oxidation to surface. Weight: 11 Lbs.
Neue Auctions
May. 28, 2022
Clement Meadmore Bronze, Upcast
Est: $5,000 - $7,000
Clement Meadmore (American/Australian 1929-2005) Upcast, 1986, bronze with brown patination, signed and dated, numbered 6/9, with foundry mark for TallixÂ Foundry,Â Â mounted on green granite base. Dimensions: 12.5 in.h. x 8 in. w. x 8 in.d. Measurement includes base. Condition: Some light oxidation to surface, area of handling wear to top. Weight: 14.5 Lbs.
Neue Auctions
May. 12, 2022
CLEMENT MEADMORE Warm Valley.
Est: $10,000 - $15,000
CLEMENT MEADMORE Warm Valley. Bronze, 1994. 240x420x210 mm; 9 1/2x16 1/2x8 1/4 inches. Incised with the artist's signature, date and numbered 3/8 on the lower edge. Fabricated by Upscale.
Swann Auction Galleries
May. 12, 2022
CLEMENT MEADMORE Up Ended.
Est: $20,000 - $30,000
CLEMENT MEADMORE Up Ended. Patinated welded steel, 1969. 1385x380x410 mm; 54 1/2x15x16 1/8 inches. Edition of 4. Fabricated by Lippincott, Inc., North Haven, Connecticut, with the foundry stamp on the underside. Meadmore Sculptures, LLC archives have confirmed that the present work is the third of four in the edition. Provenance: Acquired from Max Hutchinson Gallery, New York, by current owner, private collection, New York. A larger version of Up Ended, made of Cor-ten steel and more than 20 feet long, by Meadmore (1929-2005) is installed near the Art, Design & Architecture Museum on the campus of University of California, Santa Barbara.
Swann Auction Galleries
Apr. 04, 2022
CLEMENT MEADMORE CALYX CEILING LIGHT
Est: $600 - $800
CLEMENT MEADMORE CALYX CEILING LIGHT Recently repainted grey metal exterior and white interior. Grey painted metal reflector and ceiling cap. White plastic cording. Australia c 1950s 16h x 37d ELECTRICITY SAFETY ACT 1998 SECONDHAND DANGER THIS ELECTRICAL EQUIPMENT MAY BE FAULTY AND SHOULD BE INSPECTED AND TESTED BY A PERSON IN ACCORDANCE WITH AS/NZS 3760.
Leonard Joel