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390032 Los(e)/Seite
Los 3684
Andrêe, kämpfende Bisonsum 1910, auf der Plinthe signiert, Bronze gegossen, ziseliert, grün und dunkelbraun patiniert, zwei kämpfende Bisons auf naturalistisch gestalteter Plinthe, auf Marmorsockel montiert, minimal berieben, Schweif eines Bisons restauriert, H Bronze 11,5 cm, L Bronze 37 cm, L gesamt 40 cm. Künstlerinfo: französischer Bildhauer, tätig Anfang des 20. Jh.
Los 3618
Friedrich Bagdons, Büste Paul von Hindenburg datiert 1927, signiert F. Bagdons, Bronze gegossen und braun patiniert, expressionistische Darstellung des bedeutenden Politikers, Reichspräsidenten und Generalfeldmarschalls, auf Serpentinsockel montiert, partiell minimal grünspanig, altersgemäß gut erhalten, H Bronze 22 cm, H gesamt 30 cm. Künstlerinfo: deutscher Bildhauer (1878 Kowarren bis 1937 Dortmund), Ausbildung zum Holzbildhauer in Königsberg, Studium der Bildhauerei 1895-1902 an der Unterrichtsanstalt des Kunstgewerbemuseums Berlin, unter anderem unter Wilhelm Haverkamp, Fritz Heinemann und Karl Ludwig Manzel, Leitung der Bildhauerklasse an der neu gegründeten Dortmunder Handwerker- und Kunstgewerbeschule, Quelle: Internet.
Los 11
Juliette Peyrol-Bonheur (Paris 1830-1891)Paysage vallonné porte une signature 'J Peyrol' (sur le chassis, au revers)huile sur toilebears a signature 'J Peyrol' (on the stretcher on the reverse)oil on canvas38.2 x 55.8cm (15 1/16 x 21 15/16in).Footnotes:Born in Paris in 1830, Juliette Peyrol Bonheur trained in painting with her father and her elder sister, the famous Rosa Bonheur. Married to Hippolyte Peyrol who owned a bronze foundry, she exhibited her paintings at the Salon from 1852 until 1889.For further information on this lot please visit Bonhams.com
Los 18
After Jean Francois Oeben (1721-1763) Table á Écrire in kingwood with satinwood inlay, c. 1900, with white marble top and ornate gilt bronze mounts in the form of four heavy cast rams issuing heavy leaf swags and two heavy leaf mask handles, the drop front opening to reveal a writing surface with pigeon holes and drawers on four ornate gilt bronze mounts on cabriole legs with leaf n' scroll sabots, 108cms x 81cms (42 1/2'' x 32''). (1)
Los 336
A Japanese bronze Censor and cover, with bonsai finial, Meiji period, with a Greek key and on three legs, 5 1/2'' (14cms), a small carved soapstone Brush Rest, a small Satsuma Vase, 6'' (15cms), a pair of Japanese porcelain figural Brush Washers, 8'' (20cms); and another carved soapstone Group with figures in a boat. (a lot)
Los 49
An unusual early Chinese carved Seal, with incised design and recessed centre, approx. 8cms x 6cms; together with an early heavy Indo-Persian bronze octagonal Seal or Weight, with decorative incised design, approx. 6cms x 6cms; an attractive small circular cloisonné Dish with dragon design; also a brass oblong Arabic / Persian Quill Rest and another similar circular Tray with geometric design, as a lot, w.a.f. (5)
Los 111
A fine early stone carving of an Elephant, probably Himalayan, as is, 12.5cms (5"); a good African carved malachite Mask, 14cms (5 1/2"), together with another piece of carved Malachite, on an early coral fossilised panel, 10cms (4"); a very attractive set of 4 Japanese lacquered Nesting Boxes, each of hexagonal graduating form decorated with bird and flowers, 11cms (4 1/4"), together with two lacquered Bell Domes, one larger than the other 11.5cms (4 1/2") the larger, each with ring finial and decorated in red lacquer with flowers; an early Indian bronze Hookah, 20cms (8"); together with an embossed copper Tibetan Prayer Wheel, with wooden handle 26cms (10 1/2") and an Indian cast iron Stand; a pair of bronzed and silvered Chinese shell shaped Dishes, each chased with a dragon circling a warrior, 15cms (6"). (a lot)
Los 223
A fine French Art Nouveau three piece Mantle Clock Garniture, in red Griotte marble, the clock with typical Art Nouveau gilt brass mounts around a painted enamel dial with Arabic numerals and striking on a gong, 39cms (15 1/2"); together with a pair of gilt bronze Urns each with two handles, and body cast with scrolling foliage and hanging fruit clusters on a three stage square plinth in red Griotte marble with gilt brass mounts, 25cms (9 3/4"). (3)
Los 172
FRANZ SKARBINA (GERMAN 1849-1910) FIGURES BEFORE THE PARIS OPERA HOUSE AT NIGHT Coloured chalks on buff paper Signed and dated `1887' (lower right) 46 x 62cm (18 x 24¼ in.)Franz Skarbina initially studied at The Fine Arts Academy in Berlin as an etcher before going to Paris to complete his studies in 1855/6. His work was shown in many important exhibitions in the French capital including the Exposition Universelle of 1900 where he was awarded a bronze medal.
Los 174
Pair of Sevres porcelain urns and covers19th Century, with coronet finials, on red/pink ground, decorated with handpainted flowers and highlighted gilt decoration on ormolu bases, with marks to the underside, 55cm high approx overall (2) Overall scratches, marks and wear. Consistent with age and use. Some minor loss and wear to the gilding in places. Some tarnish and discolouration in places to the bronze/ormolu mounts.
Los 221
A 17th/18th Century bronze bust of small proportions, of a Roman figure, raised on a waisted circular marble socle, the bust with painted number "1563" to the back, 18.5 cm high including base CONDITION REPORTS Later attached to the metal struts and socle base. Base has cracks and some damage to include an area to the middle of the waist. Chips to edges. Otherwise general wear and tear conducive to age and use. See images for more details.
Los 138
A George III mahogany cased mantle clock, the caddy top with brass handle and pineapple finials, the arched glazed door with pierced brass spandrels flanked by fretwork carved side panels, on squat bracket feet, the eight-day twin fusée movement with cord pull repeat action and chinoiserie engraved brass back plate inscribed "William Turner London", the brass arch dial with silvered chapter ring set with Arabic and Roman numerals enclosing a date aperture and silvered panel inscribed "William Turner London" and a further aperture showing pendulum movement, surmounted by a silvered "strike/silent" dial within pierced brass spandrels 30.5 cm wide x 19 cm deep x 53.5 cm high including handle CONDITION REPORTS Overall condition looks good. There is some cracking / shrinkage to the veneers and mouldings throughout. Some requiring attention / re-gluing, arguably. Face and dial appear to be in overall good condition though with some wear and tear conducive with age and use, particularly to the silvering of the chapter ring at 2/3 o'clock and 6/7 o'clock. The brass handle has wear and tear to the surface, again conducive with age and use. The finials are slightly different in colour, being more gold than the bronze / yellow of the handle. The spandrels again slightly different in colour, possibly later than those on the face. The movement all appears to be intact and seemingly in working order, thought this is not guaranteed. See images for further detail.
Los 563
HAMPSHIRE, Bisley, National Rifle Association, Life Member’s Pass, 1905, bone, bowman and rifleman standing, rev. legend, named (A. Maunder Esq) 45mm, 8.90g (cf. W 1508). Very fine and very rare; pierced for suspension £100-£150 --- Alexander Elsdon Maunder (1861-1932), Palmers Green, London, a member of the winning clay pigeon shooting team at the 1908 Olympic Games, also won a bronze medal at the same Games in the individual clay pigeon shooting event. At the 1912 Olympic Games he won a silver medal as a member of the clay pigeon shooting team. Selected to shoot for England at the 1924 Olympic Games and then aged 63, he withdrew from the competition to give a younger contestant a chance.
![Miscellaneous Tokens and Checks, LANCASHIRE, Liverpool, Pontack Inn, E[dward] S[canlan], copper Twopence by Parkes [1863-5],](https://cdn.globalauctionplatform.com/76fbf531-6514-4bab-acad-b0d900c65487/0a289a3f-c77a-41f3-bb49-b0ff0173233e/468x382.jpg)
Los 516
Miscellaneous Tokens and Checks, LANCASHIRE, Liverpool, Pontack Inn, E[dward] S[canlan], copper Twopence by Parkes [1863-5], 27mm (Todd 53; cf. DNW T15, 734); NORTHAMPTONSHIRE, Peterborough, Wentworth Hotel, brass Threepence, 27mm (Waddell p.44; cf. DNW 137, 311); YORKSHIRE, Batley, United Irish League, Michael Davitt Temperance Branch, brass Penny by Ardill, 25mm (cf. DNW T20, 557); together with Royal Horticultural Society, Banksian Medal, in bronze, named (Awarded by Woodside Park Horticultural Soc. 1974), 38mm [4]. Last two very fine, former very rare, others in varied state, second pierced £80-£100 --- Provenance: B. Woodside Collection
Los 325
Miscellaneous Tokens and Checks, Co DUBLIN, Dublin, Alliance & Dublin Gas Co Employees Club, brass Twopence, stamped 844, 30mm (Rice 7; cf. Noonans 266, 256); Bradmola Brand Hosiery, light bronze, 27mm; Dublin Gasworks Canteen, uniface brass Twopence and Penny, 29 and 22mm (Rice 127, –; cf. Noonans 266, 267-8); [Edmund] Johnson Jeweller, silver Five Hundred Pounds, 16mm (cf. DNW 250, 380); N[ational] T[oll] R[oads], brass Car Toll, East-Link, 27mm (cf. DNW T20, 492); William Whitestone, brass (2), both 33mm (Woodside 1, 6) [8]. Generally fine to very fine, two pierced as issued £120-£150 --- Provenance: first bt 2018; second and fifth bt 2016; third and seventh bt 2017; sixth bt 2000; last bt N.A. Clark 2010
Los 312
Miscellaneous Tokens and Checks, Co ANTRIM, Belfast, Belfast CSL, plated zinc Halfpence (2, variants), octagonal brass Pennies (3), all by Leonard, octagonal brass Threepence and Sixpence, oval brass Shilling, all by Iliffe and Leonard, bronze 2 Shillings by Leonard (R 12, 15, 18, 20, 22, 25) [9]. Fine to very fine £60-£80 --- Provenance: one R 12 bt E. Szauer 1988; one R 15, R 18 and 25 DNW Auction T1, 15 December 2005, lot 2255 (part); R 20 bt M. Eden 1990; R 22 bt S. Byrne 1989
Los 310
Miscellaneous Tokens and Checks, Co ANTRIM, Belfast, Belfast National CSL, bronze 10 Shillings (Rains 9); Belfast CSL, Canteen, uniface aluminium Halfpenny, 21mm, Penny (Rains –, 35) [3]. Very fine and better, second exceptionally rare £100-£150 --- Provenance: R 9 bt N.A. Clark 2008; R 35 bt E. Szauer 1988; R – bt 2019
Los 622
Dack, C., Coins, Medals and Local Tradesmen’s Tokens of the XVII, XVIII & XIXth Centuries in the Peterborough Museum, Peterborough, 1908, 44pp (Manville 677); Whitelaw, H.A., Communion Tokens… of…Dumfriesshire, Dumfries, 1911, 115pp, 10 plates (Manville 709); Coxall, J., Walthamstow Tokens, Walthamstow, 1927, 26pp, 4 plates, bound with Supplement, Walthamstow, 1929, 5pp, 1 plate (Manville 864); Mathias, P., English Trade Tokens, the Industrial Revolution Illustrated, London, 1962, 64pp including 16 plates, dj (Manville 1090); Smith, K.E., Catalogue of World Transportation Tokens and Passes except North America, Redondo Beach, CA, 1967, xviii + 268pp, illustrations in text (Manville 1158); Scott, J.G., British Countermarks on Copper & Bronze Coins, London, 1975, 179pp, 10 plates, dj (Manville 1324); Henderson, A.C., Hop Tokens of Kent and Sussex & their issuers, London, 1990, 128pp including 60 plates (Manville 1671); Withers, P. and Bente, British Copper Tokens 1811-1820, Llanfyllin, 1999, 264pp, illustrations in text (Manville 1872); together with miscellaneous publications on tokens (27), by Todd, Whiting, Seaby, Fletcher, Neilson, etc, some photocopies [35]. Publishers’ bindings where applicable; Withers a mint copy £80-£100 --- Provenance: ex libris Tony Allnutt
Los 311
Miscellaneous Tokens and Checks, Co ANTRIM, Belfast, Belfast CSL, zinc Halfpenny, brass Pennies (2, one octagonal), octagonal brass Threepence and Sixpence by Vaughton, oval brass Shilling by Vaughton, copper 2 Shillings (2, by Iliffe and Vaughton), oval bronze 3 Shillings by Iliffe (R 11, 13, 14, 17, 19, 21, 23, 24, 27) [9]. Fine to very fine, some rare £100-£150 --- Provenance: R 11, 17 and 27 bt 2019; R 13 bt 2014; R 14, 19 and 21 DNW Auction T1, 15 December 2005, lot 2255 (part); R 23 bt N.A. Clark 2008; R 24 bt R. Hayes 1995
Los 162
CIRCA 1815 in the Etruscan style, the body suspended by metal chains from a metal corona, in the form of an urn shaped oil lamp with a band of Greek key pattern to the rim and issuing six branches fitted with candle holders 106cm high, 51cm diameter Note: Designers from the neo-classical era were inspired by the antique bronze lamps discovered in the 18th century. Thomas Hope used light fittings of this form for his interiors at Duchess Street; see, for example, Household Furniture, London, 1807, pl. 4. The use of wood for such an object is highly unusual but not unheard of. A ‘boat-shaped’ hanging light, in wood, is illustrated in Margaret Jourdain, Regency Furniture 1795–1820, London, 1948 edn, fig. 197, and another, formerly with Temple Williams, is shown in Splendor and Elegance, ex’n cat., Boston, 2009, no. 75. Both lamps, and the present example, are constructed with a raised central holder for a ‘flame’ or, as here, for a candle.
Los 188
19TH CENTURY dark brown patina, on waisted square plinths cast with flower bands, surmounted by acanthus cast urns, issuing a single curved arm and glass shade; together with a PATINATED BRONZE SINGLE ARM COLZA LAMP, 19TH CENTURY, of similar form but with Gothic tracery, all converted to electricity (3) the pair 25cm wide, 40cm high, 12cm deep; the other 28cm wide, 48cm high, 14cm deep
Los 349
LATE 19TH CENTURY with a seated putto supporting two pairs of scrolling acanthus candle arms, on a fluted rouge marble column base with gilt bronze laurel mounts and berry finials, fitted for electricity 40cm wide, 91cm high, 25cm deep (including fittings) Provenance: Property from an East Lothian deceased estate
Los 355
FRENCH KINGWOOD VERNIS MARTIN VITRINE LATE 19TH/ EARLY 20TH CENTURY the cavetto moulded and arched cornice above a pair of serpentine glazed doors and side lights with Vernis Martin panels of courting couples below, the interior lined with green brocade and fitted with glass shelves, raised on slightly splayed legs all outlined with gilt bronze mounts 127cm wide, 212cm high, 45cm deep Provenance: Property of the late Mrs. Jean Bogie
Los 342
FRENCH LOUIS XVI GILT BRONZE AND WHITE MARBLE MANTEL CLOCK BY LEPINE CIRCA 1780 the white enamel dial with black Arabic numerals and Arabic quarter markers, signed in puce ‘Lepine, A Paris’, the white marble pendule d’officer style case with beaded door with rose branch bow swag below, surmounted by a figure of winged Cupid descending on billowing clouds to greet a figure of Venus with two doves between them, mounted on a white marble inverted breakfront plinth base with acanthus moulding, the front with a classical frieze of putti, on front toupie feet flanked by two pairs of column base feet, the twin barrel movement with silk suspended pendulum and outside countwheel, striking on a bell, the backplate signed ‘Delaruelle AParis’ 32cm wide, 39cm high, 14cm deep There is a limited corpus of known Lepine clocks from the same period with a similar composition to the present clock, all featuring a pair of gilt bronze figures representing allegories of love flanking the case incorporating doves. A similar model, signed Lépine, can be seen in the collection of the Residenzmuseum, Munich, another housed in identical case can also be found at Château de Fontainebleau [See Hans Ottomeyer and Peter Pröschel, “Vergoldete Bronzen”, 1986, p. 248, pl. 4.6.13]. That model also features an allegory of Cupid, this time in the guise of a putti, descending from the opposite side. The modelling and chasing of the clouds is nearly identical to the present clock and the framing of the figures around the case is similar. Another similar model, signed Lépine, resides in the Collection of the Louvre Museum, Paris, and came from the collection of Queen Marie-Antoinette [See P. Kjellberg, La pendule française du Moyen-Age au XXe siècle, Les Éditions de l’Amateur, 1997, p.251 (pendule C) et 246 (pendule A), Archives nationales O13510)]. That model represents the “Return of Love" and shows figures of a winged putti offering a dove to a young maiden arranged in a similar posture around the clock. Both of those signed Lepine examples have very similar dials to the present clock, with the style of both the Arabic numerals and the signature near identical.Jean-Antoine Lépine (1720-1814), was one of the most important Parisian clockmakers of the second part of the 18th century. He was appointed clockmaker to both King Louis XV and Louis XVI, to whom he supplied a large number of clocks to the Palais royaux. Lépine was also patronised by the French aristocracy as well as the Spanish, British and Swedish royalty. Lépine initially worked as an “ouvrier libre”, then became a master on March 13, 1762, and taking over the stock of his colleague Caron, who held the title of Horloger du Roi et du Garde-Meuble de la Couronne. Having settled in the rue Saint-Denis in 1756, the place Dauphine in 1772, the rue des Fossés Saint-Germain-l’Auxerrois in 1777, and then the rue des Vieux-Augustins during the Revolutionary period, Lépine led one of the most productive and renowned workshops of the reign of Louis XVI. He was also very aware of integrating scientific excellence with aesthetic beauty and thus only used cases by the finest bronziers such as Jean-Baptiste and Robert Osmond, Etienne Martincourt and Jean-Rémy Carangeot as well as the ébénistes Balthazar Lieutaud and Nicolas Petit and also employed the services of the gilders Noël, Martin and Henry. Lépine’s attention to detail also included the dial face, his early dials only had Arabic numerals for the hours and minutes. This was one of Lépine’s specialities, which he continued to use until about 1789 when he reverted back to the more usual combination of Roman and Arabic numerals.In the late 18th century there were two clockmakers named De La Ruelle that were active in Paris. The first being André De La Ruelle (born in 1740), was apprenticed in 1754, registered his letters of mastery on October 13, 1762 and set up his workshop on rue Saint-Martin from 1772 to 1789 (See P. Verlet, Les bronzes dorés français du XVII siècle, Paris, 1999, p. 435). The second, Nicolas De Là Ruelle, seems to have started his career at the end of the reign of Louis XV and set up his workshop successively in Enclos des Quinze-Vingt, rue Croix des Petits-Champs and rue Richelieu at the Revolution.
Los 360
FRENCH LOUIS PHILIPPE GILT AND PATINATED BRONZE PORTICO CLOCK MID 19TH CENTURY the gilt Roman numeral dial with moon hands, the architectural case with a stepped pediment on Gothic arches frieze, supporting a cylinder case with foliate bezel flanked by Corinthian columns, raised on a rectangular plinth base cast with further Gothic arches panels, on gilt bracket feet, the twin-train movement with outside countwheel striking a bell 52cm high, 26cm wide, 15cm deep Provenance: Property from an East Lothian deceased estate
Los 174
REGENCY CARVED AND PAINTED WOOD AND GESSO SCAGLIOLA CONSOLE TABLE EARLY 19TH CENTURY the pink marble top above an egg-and-dart and stiff leaf frieze, raised on lion monopodia painted to simulate bronze 104cm wide, 87cm high, 43cm deep Note: The rediscovery of Pompeii and Herculaneum in 1748 sparked a desire for Classical motifs in late 18th and early 19th century furniture design. Roman furniture made of bronze and marble survived the inferno of Vesuvius, buried for millennia by volcanic ash. Their discovery lead to a flurry of designs based on the Roman antique for those inspired by the Grand Tour. The lion monopodia, along with the female caryatid, were heavily used by the Romans and served to reinforce the notion of strength within the composition. Many examples of excavated tables used lion motifs, such as the solid bronze lion paw tripod centre table, unearthed in the House of Fabius Rufus, now on display in Parco Archeologico di Pompei (Acces. No. 13108). A marble tripod table with very similar lion monopodia to this piece was also discovered at Pompeii and now residues in the Naples Archaeological Museum. The designer of this console table clearly understood the antique antecedents, here using materials to simulate the bronze and marble of the originals.
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390032 Los(e)/Seite