JACQUES NICOLAS BRUNOT (1763-1826) A BRONZE MODEL OF A TROTTING HORSE EARLY 19TH CENTURY "Etalon", signed to cast base edge 'Brunot Fecit' 38cm high, base 34.8 by 13cm Provenance: The Earl of Belmore, Castle Coole, Northern Ireland. Exhibited: Possibly the Salon, Musée Napoléon, Paris, opened on 14th October 1808. Born in 1763 in Clichy-la-Garenne, little is known of Brunot's early training. He made his debut at The Salon in 1808 with a trotting horse which has been identified as possibly being this example (No. 646). Brunot, like his contemporary Stubbs, worked directly from nature studying and modelling equestrian anatomy directly from life notably at the veterinary college at Alfort. This careful detailing is exemplified in this example, the articulated veins on the horse's head, the flared nostrils and the subtly delineated muscles. The treatment of the surface also differentiates the change between textures such as the untrimmed mane crowning the elegant curve of the neck and the smooth flesh below. In 1817 he exhibited three dissection casts at the Paris Salon; "A Horse's Head Dissected", "A Horse's Legs Dissected" and "Écorché du cheval dans l'allure du trot" (No. 1056), for which he drew on the inspiration of the pose and proportions of the Cavallo Mattei. Today he is perhaps best known not only for his anatomy models and writings on the subject but also for his equestrian statue of Henri IV after Giambologna with two versions from 1814 and 1817 held in the Angers Museum of Fine Arts and the National Museum of the Château de Pau respectively. An article in the August 28th 2024 edition of Country Life (114) titled "Take Five: Horses That Made It Into Art" celebrates his depiction of the Duke of Angoulême's La Truffe. The thoroughbred was bought in England and brought back to France after the restoration of the Monarchy. Brunot was commissioned to sculpt the horse, widely regarded as one of the most beautiful horses in France, and the work was finished in 1824, the year in which the Duke became Dauphin of France after his father, Charles X, ascended to the throne. The head in plaster is now held in Alfort. Condition Report: There are some areas of general wear to the patina, including some nicks and scratches. There are a few plugs and several original joints consistent with the casting technique and with visible casting joints as per construction, rubbing to patina of more raised areas of surface such as around head, back, limb joints and the base. One bolt to base tightened or possibly replaced. Provenance: The Earl of Belmore, Castle Coole, Northern Ireland. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
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ATTRIBUTED TO FRANCESCO FANELLI (1590-1653)- A BRONZE MODEL OF A PACING HORSE 17TH CENTURY The horse depicted pacing or ambling, on a Pietra Paesina wood base bronze 15cm high, 24cm high overall, base 15cm wide Literature: John Pope-Hennessy, 'Some bronze statuettes by Francesco Fanelli', in The Burlington Magazine, vol. XCV, 1953, pp. 157-162. Condition Report: With minor surface wear, nicks and marks and dirt consistent with age. Rubbing from age and handling to the lacquer patina notably around raised areas of anatomy including haunches, muzzle and head. There is an original, stable (though with slight movement) casting joint at the tail, with a small circular plug. Another circular plug is slightly visible at the haunches. Some mild wear to base, including rubbing, minor losses, and minor evidence of past worming. There is some splitting with chips to the veneer. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
AFTER THE ANTIQUE- A LARGE AND RARE WHITE MARBLE FIGURAL GROUP OF CUPID AND PSYCHE ROMAN, 18TH CENTURY On a Breccia Africana and white marble column, the column being ancient Roman group 136cm high, 232cm high overall This intimate marble group of Cupid and Psyche embracing is after the Roman model excavated on the Aventine Hill in 1749, and which was gifted by Pope Benedict XIV to the Capitoline Museum in the following year. Its subject has traditionally been identified as Cupid and Psyche, a theme that had long been familiar to artists and antiquarians from ancient reliefs, sarcophagi, intaglios, and free-standing statues, such as the one discovered at Santo Stefano Rotondo in 1666, in the possession of the Medici Grand Dukes since the late 17th century. As Haskell and Penny note in Taste and the Antique, it was the Capitoline statue's "sentiment that most appealed to both travellers and scholars - 'the first burst of youthful loveliness', the 'innocent fondness', the 'virginal' and ingenuous gesture of Psyche" (p. 190). The story of the young lovers, which originates in the 2nd century A.D. novel Metamorphoses by Apuleius, tells of how Venus' divine son Cupid fell in love with the mortal princess Psyche, and the obstacles she had to overcome to be reunited with him. In the 18th century, the composition was popularised by small scale reproductions in bronze, such as those by the Zoffoli workshop in Rome, and other media, such as Wedgwood intaglio and Sèvres porcelain. The present marble, which matches in material and size the Capitoline original and stands on a beautifully striated marble column, speaks of a more ambitious commission, either from an Italian patron or a Grand Tourist, intended for a stately palazzo or townhouse, or a grand country residence. Literature: F. Haskell and N. Penny, Taste and the Antique, the Lure of Classical Sculpture, 1500-1900, London, 1981, pp. 189-191.
A STAFFORDSHIRE PEARLWARE MODEL OF THE MEDICI LION CIRCA 1810 21cm high, base 27cm by 13cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Restoration to tail- front right tooth looks to have been applied at manufacture and retains blue glaze- firing faults including to his left rear leg. Typical fritting to base edge. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
AFTER JOSEPH NOLLEKENS- A BRONZE PORTRAIT BUST OF WILLIAM PITT THE YOUNGER (1759-1806) POSSIBLY A PIMLICO OR WOOLWICH FOUNDRY, EARLY 19TH CENTURY Socle base 75.5cm high overall, base 22cm diameter Between 1805 and 1815 Nollekens executed a large series of busts of British 'Worthies'- politicians, royalty and friends of George IV. After Pitt's death in 1806 he was commissioned to take a death mask which he used as a model to make marble busts of the ex-Prime Minister. By 1808 he could boast that he had taken orders for 52 examples of the bust. According to his biographer J. T. Smith, he went on to sell 74 examples in marble and 600 plaster casts. The bronze founder for this work is, as yet, unidentified although it has been suggested it may be by Benjamin Vulliamy. Sir Richard Westmacott has established his own foundry in Pimlico in 1809- with Sir Richard Chantrey establishing another in 1827. Prior to this, both had relied on foundries such as the Royal Brass Foundry at Woolwich. For an example of this portrait bust in marble please see Dreweatts 1759, Fine Furniture and Works of Art auction, 29th March 2023, lot 305 (sold for £9,000 hammer).
Y A CARVED EBONY MODEL OF A CLUB INDIAN, 19TH CENTURY 127cm long Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Vertical shrinkage faults along both sides- old mount holes drilled to ends Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
AFTER THE ANTIQUE- A CARVED FRUITWOOD FIGURE OF THE APOLLO BELVEDERE ITALIAN, 17TH/18TH CENTURY On an integrally carved circular plinth figure 53cm high Provenance: Yves Saint Laurent and Pierre Bergé Collection Private collection, Lombardy. Literature: F. Haskell & N. Penny, Taste and the Antique, Yale University Press, 1981, p. 148-151 J. J. Winckelmann, Writings on Art, ed. David Irwin, Phaidon, 1972, p. 140. This figure is a rare fruitwood model of the celebrated antique marble in the Belvedere courtyard in the Vatican, known as the Apollo Belvedere. While scholars have been divided on whether the work is a Greek original, or a Roman copy of a fourth-century Greek bronze carved during the Hadrianic period, the Apollo Belvedere remains without doubt one of the most sublime statues surviving from ancient times. Its ancient provenance, along with its discovery are unknown; however, by the end of the sixteenth century, it was in possession of Cardinal Giuliano della Rovere, the future Pope Julius II, who moved it to the Vatican during his pontificate. There, it was displayed in a niche in the Belvedere courtyard, where, with the exception of the period between 1797 to 1816, when it was ceded by Pope Pius IV to the French (under the Treaty of Tolentino) and displayed in Paris, it has remained ever since. Admired for its physical beauty and underlying sensuality, for the preeminent neoclassical art theorist, Johann Joachim Winckelmann, the Apollo Belvedere represented the apogee of the Greek ideal. Winckelmann ascribed to the work 'a noble simplicity and quiet grandeur', one that had an incredibly powerful agency: "In the presence of this miracle of art I forget all else, and I myself take a lofty position for the purpose of looking upon it in a worthy manner [...] I feel myself transported to Delos and into the Lycaen groves, - places which Apollo honoured by his presence [...]". An icon of the Enlightenment, the Apollo Belvedere was widely copied and translated into a great variety of materials, and this fruitwood version is an unusual and rare survival from this period. The fine grain of this fruitwood allows for passages of very intricate carving on a minute scale and, when polished, enables the work to take on a rich brown coloration in a similar manner to bronze. Versions of classical sculptures made from these types of woods appealed to the same collectors who prized bronze statuettes. Condition Report: Saleroom Notice- the description has been updated and differs from the printed catalogue- the figure is 53cm high. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with typical remedial/conservation work around jointed construction points- elbows, hands, base, knees and legs etc. These have occurred at different times- with differing levels of execution- surface with attrition scuffs from handling, signs of repairs to old damages to base of cloak, fold of cloak and right hand- which are more restoration than conservation. Shrinkage faults- some later infill Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
PIERRE SUBLEYRAS (FRENCH 1699-1749) STUDY OF SAINT JEROME Oil on canvas 97.2 x 72.5cm (38¼ x 28½ in.) This is a preparatory study for the altarpiece depicting The Vision of Saint Jerome (408 x 232 cm.), which was commissioned for the church of Santi Cosma e Damiano in Milan and is today in the Pinacoteca di Brera, Milan. Here the model is posing nude in the studio, with a grape vine around his waist and an animal hide beneath his knee. Another version of similar dimensions but with minor differences sold at Artcurial, Paris, 7 November 2012, lot 44. The attribution to Pierre Subleyras has been endorsed by Nicolas Lesur on the basis of digital images. 1 https://pinacotecabrera.org/en/collezione-online/opere/san-gerolamo-che-suona-le-trombe-del-giudizio-universale/ Condition Report: The canvas has been lined. There is a small patch to the centre left of the canvas verso, and this corresponds to a small area of repair under the sitter's left armpit, which can be seen in natural light. There are a number of further repairs, largely to the background area of the canvas, which are visible in day light. Scattered craquelure throughout, with a more concentrated area to the sitter's right shoulder, where some of the paint has started to lift. There are also associated losses. A further area of similar loss to the sitter's right thigh and lower torso, where there is some visible infilling. Further minor scattered losses throughout. Stretcher marks visible, rubbing and abrasions to the edges. Inspection under UV light reveals retouching and infilling throughout. Condition Report Disclaimer
A BRONZE MODEL OF A STAG'S HEAD CONTEMPORARY With floral antlers 121cm high, base 40cm wide Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Weathered- Arram style, unsigned and designer unknown Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
A BRONZE MODEL OF A SWAN ENGLISH, 20TH CENTURY 80.5cm high, wingspan 59cm Condition Report: With some weathering wear, marks, knocks and scratches as per relatively modern age, handling, use, and cleaning. Some surface signs of likely display or use in an exterior setting, some discolouration and surface marks including verdisgris in places - could easily be used as a garden ornament, it is substantial enough to not get easily knocked or blown over. if placed at height care must be taken that suitable installation and security is maintained Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer
Stephanie Cunningham stoneware model, dog in the wind, 8cm high x 21cm long (the tail has now broken), with receipt from Stephanie Cunningham dated 6th October 2014 From the collection of the late Maurice Costley Condition ReportThere is a chip to the tip of the tail, some light fritting to glaze, otherwise ok.
Tessa Fuchs (1936-2012) earthenware model of two figures in sailing boat on waves, impressed mark to front of boat 'TF', 28cm high (damaged, one of the seagulls has head broken off) From the collection of the late Maurice Costley Condition ReportAs described, one seagull's head has been cracked off and restuck through neck, overall in good order otherwise.
René Lalique 'Moineau Fier' clear and frosted glass model of a seated bird (a/f), etched "R Lalique France" and moulded R. Lalique to base, 8cm high, together with a Lalique glass model of an owl (a/f), 9cm high (2)Condition ReportThe owl has a bruise to the top of its head and a minute chip above one eye. 'Moineau Fier' has some noticeable chipping to the front edge of footrim and beside one claw, and slight chipping to the tip of its tail feather and to edge of wings.
A BSA Mercury .22 Break Barrel air rifle, complete with moderator, plus a Model 10 Original 4x32 scope, gun cleaning kit and box, plus gun sleeve, 18+ TO PURCHASE, FACE TO FACE COLLECTION OR PACK ONLY SERVICE, BUYERS TO SORT COLLECTION, SECTION 21 DISCLAIMER MUST BE SIGNED BEFORE RELEASING OF LOT (A-577)please see additional images, serial looks to be ZC09370, it is hard to make out
A Life Size plywood model of a Naval Nurse, having a vacuum pack plastic face/head, ideal for a vintage display, in two pieces, 178cm Hsome small cracks to the plastic as it has dried out, some staining and discolouration to the uniform, otherwise generally good condition, no obvious signs of significant damage or repair
An MGC Model Gun Co Blank Firing Revolver, modelled as a Python 357 Magnum, together with another model of a revolver, this lot is offered for the purposes of Historical Re-enactment of Theatrical used in accordance with the VCR Act 2006these can be posted within the UK, postage costs are calculated after the sale
Six Boxed Corgi 'The Aviation Archive' Diecast Model Aircraft to include 1:144 #47203 Avro York - Dan Air, 1:144 #47303 Avro Lancaster Royal Canadian Air Force, models may have previously been displayed, small parts may be missing, landing gear sometimes attached. Together with a Dutch Language Military publication - German Motorcycle Trooper to cover.
Three Star Trek Themed Plastic Model Kits by AMT/Ertl to include #6812 Klingon Battle Cruiser. #6876 U.S.S Enterprise and Shuttlecraft. #8741 Runabout Rio Grande. Together with a AMT/Ertl #8777 Star Trek 12" Tall Vinyl Figure Chief Engineer Mr Scott. Sealed Boxes, dusty, minor crushing to boxes.
Six modern "Dinky Reproduction" Die-Cast Model Vehicles, by Atlas Editions, Matchbox, plus Road Signs, to include DY-S 10 Mercedes Diesel Omnibus, boxed, Two Leyland Octopus Esso Tankers, one boxed, one loose, and Three Cars #111 Triumph TR2, #177 Opel Kapitan, #555 Ford Thunderbird, boxed all unchecked.
A Fine 3.5 Inch Gauge Live Steam 4-6-0 King Class Locomotive with Six Wheel Tender, finished in GWR green "King Edward VII" R/No 6001. Provenance suggest the engine was built by a Mr Alan Gay of Surrey from it is believed plans purchesed in 1939, however nothing is known until 1986 when the boiler was purchased from Morewood Engineering (now Stuart Models Ltd) - with boiler test certificate dated 07/86: A steam test dated 04/95 suggests the model was run unfinished, completion of the model was by Mr David Murray in 2002 - last steam test was 10/02. the model is equipped with a silver soldered boiler with working pressure of 80/90 psi - boiler feed by axle pumps and tender hand pump - comprehensive backhead instrumentation/controls - including sight feed lubricator, mechanical lubricator between frames. Four cylinders with the inside valve gear actuated by Walschaerts Mechanism, derived motion to outside cylinders by rocker shafts, cylinder drain is manual - full braking on engine & tender - reverser - detailed ash pan with stainless steel grate - excellent rivet work to tender. the model is coal fired and comes supplied with a small amount of coal and wood.Overall length of locomotive with tender is 140cm: display track included - plus a small amount of history and boiler certification - there are no build plans or parts list.6001 was a design by Charles Collett, built in 1927 and withdrawn 02/62 - scrapped at Cox & Danks Oldbury.
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