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Preisdatenbank abonnierenBROOKLIN MODELS; three BRK 20 1953 Buick Skylarks in red, light green and white liveries, the latter with 'Oktoberfest Parade Marshal' decal, 1/43 scale, all boxed (3). CONDITION REPORT: Provenance: The Ed Clark Collection. Boxes heavily worn, light green model with a few dark marks to the cream roof, otherwise models appear ok.
ANDERSON PAMELA: (1967- ) Canadian-born American Actress and Model. A Playboy Playmate, she is best known for her role on the television series Baywatch. Signed colour 10 x 8 photograph by Anderson, the image depicting the actress laying in a sensual semi-nude full length pose. Signed in bold black ink across the image. VG £60-80
DE LA HUERTA PAZ: (1984- ) American Actress and Model. Well known for her role in the film The Cider House Rules´ (1999). Signed colour 10 x 8 photograph by the Spanish-American artist, the image depicting Paz de la Huerta outdoors, laying over beach stones. Signed in bold blue ink across the image. VG £80-100
PALVIN BARBARA: (1993- ) Hungarian Model. A Victoria´s Secret Angel. Signed colour 8 x 10 photograph by Palvin, the image showing the top model standing in a sensual full length beach pose. Signed in bold blue ink `With Love, Barbara´ to a clear area of the image adding a heart sketch immediately beneath her signature. EX £80-100
HUNTINGTON-WHITELEY ROSIE: (1987- ) English Model, Actress and fashion Designer. Best known as a Victoria´s Secret Angel, and for being the face of Burberry. Huntington obtained international recognition for her role in the awarded film Mad Max: Fury Road (2015). Signed 8 x 10 photograph by Huntington-Whiteley, the artistic image depicting the English artist standing in a three quarter length profile nude pose. VG £100-150
CHRISTENSEN HELENA: (1968- ) Danish Model and Photographer. A Victoria´s Secret Angel. Signed 8 x 10 photograph by Christensen, the attractive close-up image depicting the Danish model in a top-less half length sensual pose. Signed in bold black ink to the clear centre of the image. VG £80-100
NOLIN GENA LEE: (1971- ) American Actress and Model. Best known for her television appearances on The Price is Right and Baywatch. Signed colour 10 x 8 photograph, the image depicting Nolin laying in a sensual three quarter length nude pose. Signed in bold dark ink to a clear area of the image. EX £100-150
BOND GIRLS: Small selection of three signed 8 x 10 photographs, and slightly larger, by various film Actresses, most English, all of them known for their roles in James Bond films, comprising Shirley Eaton (1937- ) well known for her Bond Girl role in Goldfinger (1964), the image showing her in a scene of this film; Honor Blackman (1925- ) starring as Pussy Galore in Goldfinger (1964), the image showing her outdoors, in a full length pose alongside Sean Connery; Madeline Smith (1949- ) Actress and Model. The 8 x 11.5 photograph depicting Smith standing in a three quarter length pose, alongside Roger Moore; Martine Beswick (1941- ) the image showing Beswick outdoors in a scene of a James Bond film Dr. No (1962), alongside Sean Connery; Rosamund Pike (1979- ); Caroline Munro (1949- ); Michelle Yeoh (1962- ) Malysian Actress, and Famke Jansen (1964- ) Dutch Actress. All are signed in bold inks to clear areas of the images. VG, 8 £100-150
HILTON PARIS: (1981- ) American Model, Actress and Socialite. Signed colour 8 x 10 photograph by Hilton, the image depicting the reality television star standing in a sensual back full length artistic pose. Signed in bold blue ink, with her name alone, to a clear area of the image. EX £100-150
MARTINELLI ELSA: (1935- ) Italian Actress and Fashion Model. Vintage signed and inscribed 8 x 10 photograph of Martinelli, the image depicting the actress in a half length pose, in a scene of the film The V.I.P´S (1963). Signed in bold black fountain pen ink to a clear area of the image. Autograph obtained in person by French Collector Pierre Goulliard. VG. £80-100
BORGES MARIA: (1992- ) Angola fashion Model. First black model to ever walk in the Victoria´s secret fashion show. Signed 8 x 10 photograph by Borges, the image showing the African model seated in an artistic nude half length pose. Signed in bold blue ink to a partially clear area of the image. VG £80-100
T. Hamlet, (British, fl. early 19th century), a patinated bronze model of Prince Frederick, Duke of York and Albany, dated 1823, portrayed in later years, togate and with head turned to dexter, the truncation to the reverse inscribed PUBLISH'D BY T.HAMLET. 1 JANY 1823; atop a cylindrical pedestal inscribed HIS ROYAL HIGHNESS THE DUKE OF YORK to the front 28cm high CATALOGUE NOTES: Hamlet appears to have been far from prolific in his output, although he was clearly highly accomplished and patronised by the very highest placed members of society. Three years after producing the bust of the Duke of York, Hamlet sculpted his brother Prince Augustus Frederick, Duke of Sussex. Indeed, a bronze reduction was produced (dated 1826) which matched the current bronze in height exactly, and it is quite possible that hamlet sculpted two or more of King George III's sons and daughters as an intended set See Sotheby's London, European Sculpture and Works of Art, 9th December 1993, lot 131
λ Ian Rank-Broadley, (1952 ~ ), a verdigris patinated bronze model of a standing nude called Ganymede, the male figure facing upwards, arms raised above his head, the right wrist wound with curling rope, left hand grazing his face, the integral rock-form base monogrammed and inscribed with the edition number (3/10) 56 cm high overall CATALOGUE NOTES: Ian Rank-Broadley's work is familiar to most, as his effigy of HRH Queen Elizabeth II has graced the UK and Commonwealth coinage since 1998. In addition to this well-known image, Rank-Broadley's work also appears on public monuments including, notably, the Armed Forces Memorial. His work is also held by a number of museums including the Royal Collection, Windsor Castle, the Ashmolean Museum, Oxford and the Fitzwilliam Museum, Cambridge, as well as many private collections Please note: λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λ Attributed to Christine Gregory, (1879 ~ 1963), a patinated bronze model of a seated boy called The Spirit of Mischief, 20th century, the boy portrayed nude and in the act of flicking a pea, both arms and the right leg outstretched, seated on a textured socle modelled as a tree stump 43 cm high including black marble base CATALOGUE NOTES: Born in London, Christine Gregory was the first female artist to become a member of the Royal British Society of Sculptors. Her known works often engage with themes of youth, family and motherhood Please note: This sculpture is signed C. GREGORY to the socle Please note: λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
After Gaston Veuvenot-Leroux, (French, 1854 ~ 1942), an Egyptianesque cold painted spelter group, early 20th century, modelled with a sleeping maiden reclining against a fragmentary pharaonic figural monument; inscribed G LEROUX in the maquette to one side and PROPRIETE D'EUG BLOT to the other 67cm high CATALOGUE NOTES: Eugène Blot (1883 ~ 1976) was a painter-decorator, draftsman, landscaper, teacher and French horn player. He also founded the Institute of Decorative Painting in Reims, which was in 1928 recognized by the French government as a public institution, and which is still considered a model of its kind To have a record of his own ownership of this sculpture inscribed in the maquette prior to its casting, indicates that Blot personally ordered the piece
Constant Ambroise Roux, (French, 1865 ~ 1942), The Child Achilles, circa 1920, marble mounted and patinated bronze, signed Constant. Roux BRONZE to the rear, indistinctly stamped and numbered 182, truncated bust of a Neoclassical-inspired youth looking over the shoulder to sinister, mounted on a trapezoid Italian green serpentine marble base 35 cm high, 23 cm wide CATALOGUE NOTES: This model of the Child Achilles has appeared at auction in various materials, including carved fruitwood and marble. The tense pose and stark lines of the present model are typical of Constant Roux' muscular, Antiquity-inspired sculptures, which grace many public monuments across France, particularly Roux' hometown of Marseille A similar example, also with green patination, was sold at Christie's South Kensington, Interiors, 29 June 2011, lot 542
Charles Arthur Bourgeois, (French 1838 ~ 1886), Odalisque, a patinated bronze model of a maiden, circa 1870, portrayed standing, her weight on her right leg, her head turned to sinister, draped from the waist down, the circular base cast with drapery, inscribed A.BOURGEOIS Sculp in the maquette and L.Marchand Editr. for the foundry 83cm high CATALOGUE NOTES: For comparable examples of this bronze, see: Christie's South Kensington, Interiors, 20th May 2015, lot 546 Also Dorotheum, Vienna, Jugendstil und angewandte Kunst des 20 Jahrhunderts, 23rd November 2011, lot 1040 Also Sotheby's London, 19th & 20th c. Furniture & Decorative Arts, 1st March 1996, lot 96
A Continental silvered bronze and marble mounted model of an eagle, circa 1925, portrayed standing on rockwork with wings spread, atop a square marmo Portoro base 20cm high, 20cm wide And a metal model of an eagle, possibly north American, early 20th century, portrayed alighting on rockwork 27cm high
Francois Rude, (French, 1784 ~ 1855), Young Neapolitan fisher boy playing with a turtle by the seaside, mid 19th century cast after an 1833 marble model, bronze, stamped with a seal inscribed REPRODUCTION MECANIQUE, A COLLAS BREVETE The boy portrayed nude aside from a Phrygian style cap over his loose curled hair, and an amulet around the neck, looking slightly to sinister, the left arm extended to a turtle on a leash, the integral oval base adorned with fishing nets 24 cm high, 26 cm wide CATALOGUE NOTES: Francois Rude was one of the leading sculptors of the early 19th century Romantic movement. His subjects, ranging from unassuming genre scenes to poignant political sculpture such as the soldierly figural group called the Marseillaise (1833-36) which adorns the Arc de Triomphe, are characterised by a strong emotional quality. The spontaneous smile of the boy, exposing his teeth, seemingly unaware of the spectator, is a good example of this interest in emotion, showcasing Rude's departure from strict, classically inspired Academic sculpture The model of the Young Fisher Boy was first exhibited in plaster at the Paris Salon in 1831, and was later fashioned in marble in 1833. The marble sculpture is held by the Louvre. The stamp of inventor Achille Collas places this cast in the mid-nineteenth century, probably between 1840-60, when Collas had patented his pantograph-like machine for creating small-scale bronze reproductions of sculptures
A Continental gilt bronze and marble mounted model of a triton, late 18th century, in the manner of examples by Gian Lorenzo Bernini (1598 ~ 1680), portrayed as kneeling, his head turned to sinister, a shell held to his lips in his raised left hand; on a circular white marble socle with inset beading, atop a striated green marble base 10cm high, 9.5cm diameter CATALOGUE NOTES: The origin of this charming model, whilst clearly Classical in idea is far more Renaissance in realisation. Bernini's Fontana del Tritone, in the Piazza Barberini, Rome is noteworthy in its similarity of stance and attitude; as is a 17th century gilt bronze figural table salt held at the Metropolitan Museum of Art in New York which is described as the work of a Follower of Gian Lorenzo Bernini (Accession Number:64.101.1468) Perhaps more noteworthy though is a study in charcoal by Annibale Carracci for a ceiling fresco at the Palazzo Farnese in Rome, completed in 1597, (the study now also held at the Met in New York -Accession Number 1970.15). In the event the Triton blowing the conch shell was represented from a slightly different angle, but the similarity that the current bronze model has to Carracci's study is indeed striking, and it could be reasonably proposed that it could well have been inspired by or modelled after Carracci's work
Affortunato Gory, (Italian, active circa 1895 ~ 1925), a sculpted white marble and gilt bronze mounted model of a Bacchante, circa 1900, portrayed in ecstatic dance, her arms raised above her grapevine adorned hair, her drapery falling away from her breasts and billowing behind her, her weight on her right foot; the naturalistically cast base with a thyrsus, flowers and foliage, and inscribed Gory in the maquette; atop a shaped and waisted rouge and white marble socle 69cm high CATALOGUE NOTES: For highly comparable examples of Gory's work, where he utilised the very distinctive method of fitting gilt bronze to marble, see: Sotheby's London, 19th & 20th Century Sculpture, 11th July 2018, lot 32 Also Bonhams New York, 19th Century European Paintings, 3rd May 2017, lot 30 Also Claude Aguttes, Paris, Arts Décoratifs du XXème, 13th November 2013, lot 146
Auguste Rodin, (French, 1840 ~ 1917), The Age of Bronze, 20th century cast after a model from 1877, patinated bronze, the nude portrayed contrapposto, with head inclined, the eyes closed and lips slightly parted, the right arm raised to meet the head, the left hand loosely forming a fist, inscribed A. Rodin and RUDIER FONDEUR - PARIS to the base 101 cm high, base 27.5 cm wide CATALOGUE NOTES: Rodin created The Age of Bronze in 1877, using a young Belgian soldier as his model. This was the French sculptor's first full-scale figure. The sculptor had just returned from a journey to Italy, and was greatly influenced by Michelangelo Buonarotti's famous Dying Slave, whose pose, specifically the raised arm, is recalled in Rodin's bronze. The sculpture's lifelikeness allegedly resulted in Rodin having to prove that he had not cheated by simply making moulds directly from his model's body, but that he had really modelled it himself from drawings. Though Rodin was strongly influenced by models from the Renaissance and Antiquity, his incredible attention to naturalism of body and form, often rendered in highly textured surfaces and dynamic poses, shows a move away from the more rigid Neoclassical tradition and towards a striking modernity The smaller model of The Age of Bronze was conceived in 1903-4 and cast at various points during the 20th century, including with the foundries of Alexis and Georges Rudier. The present item could possibly be part of these limited 20th century castings. A very similar example to the present work sold at Christie's London, 9 February, 2011, Lot 2 Please note: this item is of 20th century make
λJohn Henry Monsell Furse, (1860 ~ 1950), a bronze model of a recumbent greyhound, circa 1900, naturalistically posed and modelled, on an integrally cast base inscribed HM FURSE Sc in the maquette 10cm high, 42cm long PROVENANCE: Purchased from the Sladmore Gallery, 32 Bruton Place, London in January 1990. The lot is offered with the 1990 sales invoice CATALOGUE NOTES: When the plaster of this sculpture was exhibited at the Royal Academy in 1898, a critic wrote in the magazine 'The Artist': 'If a man had never seen a greyhound in his life, and saw this little statuette, he would have to be singularly dull not to see in this the essential qualities of speed and deep wind and lightning movement... it almost tempts one to whistle, that one may have the pleasure of seeing this graceful creature start into movement' Please note: λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Aristide Maillol, (French, 1861 ~ 1944), The Cyclist, also called The Ephebe, 20th century cast after a model from 1907-8, patinated bronze, monogrammed M to the integral oval socle, the figure portayed in contrapposto, looking slightly to dexter, the left hand touching the left shoulder 53 cm high including rectangular stone base CATALOGUE NOTES: The present work is a later cast after a model made by Maillol for his early patron Count Harry Kessler, depicting the cyclist Gaston Colin. Versions of the larger model are held by the Musee d'Orsay and the Kunstmuseum, Basel. Aristide Maillol studied at the Ecole des Beaux-Arts in Paris and went on to join the spiritual art movement of Les Nabis alongside Paul Gauguin in the 1890's, creating not only sculpture but also tapestries and woodcuts. The simplified, stark lines of the Nabis remained influential throughout Maillol's career. Though primarily known for his monumental female nudes, this male bronze, though in a classical pose, is imbued with the angular geometry and highly modern, simplified lines so typical of Maillol's oeuvre
Auguste Louis Mathurin Moreau, (French 1834 ~ 1917), a patinated bronze model of a winged nymph, circa 1875, portrayed as partially draped and leaning forwards to smell flowers, in a foliate cast urn, on an Ionic fluted columnar pedestal; on a stepped rectangular marmo rouge griotte base 76.5cm high, 33cm wide
A French patinated bronze model of the Faun with Clappers, last quarter 19th century, cast after the Antique, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed Louvre in the maquette 58cm high CATALOGUE NOTES: The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, he having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since
An Italian patinated bronze model of the Capitoline Dying Gaul, late 18th century, cast after the Antique, probably the workshop of Zoffoli or Righetti, atop a loosely oval white marble socle The bronze, 18.5cm high, 36cm long; the dimensions with socle, 21.5cm high, 38.5cm long CATALOGUE NOTES: The Dying Gaul is an ancient Roman marble copy of a lost Hellenistic statue which was possibly originally executed in bronze and commissioned some time between 230 BC and 220 BC by King Attalos I of Pergamon to commemorate his victory over the Celtic Galatians in Anatolia. The identity of the original sculptor is unknown, but it has been suggested that Epigonus, a court sculptor of the Attalid dynasty of Pergamon, is a probable candidate The Dying Gaul is thought to have been rediscovered in the early 17th century during excavations for the foundations of the Villa Ludovisi, Rome, (first being recorded in a 1623 inventory of the collections of the powerful Ludovisi family). By 1633 it was in the Ludovisi Palazzo Grande on the Pincian Hill, after which it was acquired by Pope Clement XII for the Capitoline collections. Its theft by Napoleon Bonapart, followed by its subsequent return 1816 only added to its fame, and the Dying Gaul became a firm favourite with wealthy aesthetes engaged on their Grand Tours Giacomo Zoffoli's workshop was a leading Roman foundry during the 18th century, famous for producing reductions of the very highest quality in bronze after antique marbles. Francesco Righetti's productions were also similarly highly regarded, and it is probable that the first-rate bronze offered here, with its magnificent detailing was cast by one of these masters
Glyn Warren Philpot RA, (1884 ~ 1937), Mask of a Dead Faun, later cast of a model from circa 1920, patinated bronze, the face downcast, turned slightly to dexter, the figure portrayed with eyes closed, on a rose marble plinth atop stepped square section grey marble base, issued by the Fine Art Society as part of a circa 1985 limited edition of 8, stamped edition number 4/8 to the side41 cm high, base 15 cm wideCATALOGUE NOTES: British artist Glyn Philpot rose to prominence as a successful painter of society portraits, but gradually became more interested in the subject of the male body. His later work was met with some criticism for the artist's eroticised depictions of the male figure. This tactile, sensually modelled mask is said to represent the features of the model George Bridgeman, who also features in Philpot's paintingsPaintings by Philpot, including his self portrait, are held by the National Portrait Gallery, and the present model, on a different base, is in the collection of the Victoria and Albert MuseumA version of this model was sold at Bonham's Knightsbridge, 'Modern British and Irish Art', 11 July 2017, Lot 151
Margaret F. Foley, (north American 1820 ~ 1877), two sculpted white marble portrait relief roundels, circa 1863, the smaller example inscribed MF FOLEY SC ROME beneath the truncation 41.5cm diameter, 4.5cm thick The larger example broken in two, inscribed MF FOLEY F. ROMA 1863 at the truncation and MF FOLEY F. ROMA 1864 beneath it 54cm diameter, 4.5cm thick CATALOGUE NOTES: Foley exhibited at the International Exhibition of Arts and Manufactures in Dublin in 1865. The catalogue lists no. 176. 'Pasquagia, the celebrated Roman Model' - portrait medallion in marble. Offered for sale 50-0-0, on p 109 'M.F. Foley', Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII, online database 2011
After François-Joseph Bosio, (Monagesque 1768 ~ 1845), a bronze model of King Henri IV of France as a Child, portrayed standing and attired in Renaissance dress, a sheathed sword in his left hand; the rectangular base inscribed in the maquette for the foundry, F.BARBEDIENNE FONDEUR 50cm high CATALOGUE NOTES: Bosio was a neoclassical master who sculpted in the great tradition of Canova; this statue, an exception in his work, is an early and successful example of the Troubadour style, which influenced painting from the very start of the 19th century, but had a slightly later impact on sculpture. The precision of costume and accessories is characteristic of the Troubadour style, which views history from an anecdotal, intimate perspective, aiming to move the spectator (unlike neoclassical art, which seeks to edify). The portrayal of kings as children provides a touching contrast between the innocence of their state and the gravity of their destiny. Bosio was probably inspired by a 16th-century portrait of Henry IV at the age of four (Château de Versailles) by François Bunel (1522 ~ 1599), court painter to the kings of Navarre
Demétre H. Chiparus, (Romanian, 1886 ~ 1947), patinated bronze model of a boy on the beach, the boy portrayed nude and crouching, resting on his elbows, on a textured bronze plinth signed D. H. Chiparus and dated MCMXI, on a moulded rectangular green, likely verde antico marble base with plaque inscribed A NOCINO 14 cm high, 26 cm wide CATALOGUE NOTES: Romanian sculptor Demétre Chiparus spent most of his career in Paris, and is considered one of the most important sculptors of the Art Deco period. Known mostly for his highly stylised chryselephantine models of dancing and reclining maidens, this realistically modelled boy sheds light on the sculptor's earlier work. Dated 1911, the present model likely predates Chiparus' move to Paris and may have been made during his sojourn in Italy, where he studied with sculptor Raffaello Romanelli between 1909-1912. The interest in realism as well as classical poses (the crouching figure can for example be related to the famous Roman 'Dying Gaul'), shows the influence of Italian sculpture on Chiparus' work. Within a few years, this realism would give way to the elegant, elongated lines of Art Deco
A recessed relief sculpted porphyry roundel depicting the face of Medusa, probably a Grand Tour souvenir, late 18th century, after Classical models, the visage portrayed frontally beneath winged and centrally parted hair, tied beneath the chin 35.5cm diameter, 5cm thick CATALOGUE NOTES: The portrayal here is in the manner of the more formally beautiful Medusas of the Hellenistic and early Roman period, than of the horrific gorgons of earlier Greek sculpture. The Medusa Rondanini, now held at the Glyptothek in Munich, Germany is certainly comparable, having been bought by the art-loving king Ludwig of Bavaria from the heirs of the Marchese Rondanini, during his own Grand Tour of Italy as a prince in the early 19th century. Prior to this though it would have been available to view to the right people, and reproductions were certainly sold to interested visitors The relief carved stone face of Medusa at the Temple of Apollo at Didim in south western Asia Minor -dating to the Hellenistic era, provides an interesting early precursory model for these more refined faces of Medusa
An Italian patinated bronze model of the Roman she-wolf, possibly workshop of Francesco Righetti, late 18th century, cast after the Antique, her head turned to sinister with jaws agape; later mounted onto a rectangular white marble plinth with socle The bronze 12cm high, 21cm long; including the base, 21cm high, 23cm long CATALOGUE NOTES: The Etruscan original of the She-Wolf with Romulus and Remus beneath, dating to circa 490 BC is held at the Capitoline Museum, Rome. The infant founders of Rome would have been cast to the base which in the bronze offered here has been later replaced Righetti catered mainly for wealthy foreigners engaged on their Grand Tours. He had a large workshop and produced faithful replicas in various sizes, of well known statues based on classical models. In later life Righetti worked closely with the celebrated neo~classical sculptor Antonio Canova in casting large scale bronzes
An Italian Grand Tour marmo rosso antico model of an obelisk, probably the Lateran Obelisk, second half 19th century, each of the four sides of the tapering shaft incised with hieroglyphs and cartouches, the square section plinth with stepped socle, atop a marmo nero Belgio base 44cm high CATALOGUE NOTES: The red granite obelisk originally erected by Pharaoh Thutmose III at the temple complex at Karnak, and now situated in the square across from the Archbasilica of St. John Lateran in Rome, is the largest standing ancient Egyptian obelisk in the world. As such it was much visited by travellers in Rome undertaking their Grand Tours of the sites of antiquity. Rosso antico marble was often utilised for this particular model, reflecting the red stone of the original monolith
A group of assorted Continental patinated metal figural sculpture, late 19th century, comprising a pair of spelter models of amorini, 16cm high; a pair of associated bronze tripod atheniennes, 10.5cm high; a pair of spelter models of a maiden playing badminton and a young man with books, 13cm high; and a spelter and marmo nero Belgio mounted model of a twin volute handled urn, 25cm high overall
After Giambologna, (Flemish working in Italy, 1527 ~ 1608), a bronze model of Venus After the Bath, Italian, 17th century, a cloth held up in her left hand to her left shoulder, with further drapery held in her right hand over her left thigh, the left foot resting on an urn; on an integrally cast rectangular base; atop a square section marble socle The bronze, 13cm high, the height overall 14.5cm CATALOGUE NOTES: Various versions of this model, all with slight differences exist. In many the left hand with the cloth is raised to her breast rather than above the shoulder as it is here. Cf: Sotheby's London, Collections, 3rd May 2018, lot 92
An Italian bronze and Siena marble mounted Grand Tour model of the Temple of Vesta, third quarter 19th century, probably originally a brûle parfum, cast with tiled roof and Corinthian columns around the circular cella, with stepped socle atop the marble base 12.5cm high, 12.5cm diameter CATALOGUE NOTE: The Temple of Vesta is the popular name given to the round temple near the River Tiber in Rome (in what is now the Piazza Bocca della Veritá). The association with Vesta results from the shape of the building but in fact it is not known to which god the temple was dedicated. It may have been dedicated to Hercules Olivarius, patron of the Portus Tiberinus oil merchants, since three or four temples to the Greek hero are known to have stood in the area of the Forum Boarium where there was also a Great Altar to Hercules, and since chthonic deities such as Hercules were often worshipped in circular temples More confusingly, the term 'temple of Vesta' is now more popularly used as the name of the ruined circular temple to the same goddess at the Tivoli Gardens, whilst the temple after which the bronze here is modelled is referred to as the Temple of Hestia (the Greek form of Roman Vesta)
An Italian patinated bronze model of the Pompeiian Dancing Faun, late 19th century, after the Roman original excavated in 1830, portrayed in ecstatic dance, with hands raised, with an oak and acorn wreath around his horned head, his tail issuing behind him, on a rectangular base 82cm high overall CATALOGUE NOTES: The Roman version unearthed in 1830 is almost certainly a copy of an earlier Greek bronze. The Pompeiian example acquired instant fame, largely because of its completeness, small size, and the rarity of surviving bronzes. Indeed, the excavated house in which it was discovered was named after it - the House of the Faun The Dancing Faun soon became a favourite subject for reproduction, aimed at the modest gardens and interiors of aspiring aesthetes. Another feature attractive to the refined tastes of the nineteenth and twentieth centuries was the fact that the faun seemed to be joyous rather than drunk
Francisque-Joseph Duret, (French 1804 ~ 1865) and Auguste-Maximilien Delafontaine, (French 1813 ~ 1892), a patinated bronze model of a dancing youth, third quarter 19th century, portrayed nude but for loose trunks, the circular naturalistically cast base inscribed for the sculptor and founder 95cm high
Georg Rheineck, (German, 1848 ~ 1916), a patinated bronze model of a boy startled by a frog, 1901, the nude youth portrayed standing, looking to sinister, leaning sideways on the slightly bent right leg, a small frog perched on the integral textured ovoid base inscribed G.g. Rheineck 1901 42 cm high, 26 cm wide
An Italian Grand Tour marmo giallo model of the Column of Marcus Aurelius, last quarter 19th century, with gilt bronze figure of an emperor on a cylindrical plinth atop the square section capital, the tapered shaft with spiral bands of figural scenes, the square section pedestal inscribed to one side, with stepped socle and marmo nero Belgio base 42cm high CATALOGUE NOTES: The Column of Marcus Aurelius is a Roman victory column in the Piazza Colonna, the spiral relief (modelled on a similar scheme on the earlier Column of Trajan) portraying Marcus Aurelius' Danubian or Marcomannic campaigns, waged by him from 166 to his death in 180 The column was entirely restored by Domenico Fontana in 1596 on the order of Pope Sixtus V, at which point a bronze statue of St Paul was added to the top. The original figure of Marcus Aurelius had been long lost by this point, so the bronze model atop the souvenir column offered here is a purely conjectural and generic portrayal of a Roman emperor, (having more in common with a model of Domitian held at the Vatican, -Inv. No. 2213). The original dedicatory inscription is also long lost, so the inscription in the Grand Tour model here is also conjectural (explaining the inaccuracies in the Latin)
After Giambologna, ‘(Flemish working in Italy, 1527 ~ 1608), a bronze model of a pacing bull, 17th century, the bull portrayed with the left foreleg raised, the head inclined slightly to sinister and the tail curled upwards, on an associated moulded wood plinth 14.5cm high, 7.5cm long overall CATALOGUE NOTES: Born and trained in Belgium, the sculptor Jean Boulogne, later Italianised to 'Giovanni Bologna' or 'Giambologna', travelled to Italy around 1550 in order to study the works of Antiquity and Renaissance. He was never to return from his trip. Convinced by the powerful Medici family to remain in Florence, he worked there as the family's court sculptor from the 1560's until the end of his career. Known for creating towering, impossible multi figure compositions of biblical and mythological subjects in marble and bronze, the contortionist bodies of Giambologna exemplify the ingenuity of mannerist sculpture. The sculptor created the model of the 'pacing bull' for Grand Duke Cosimo de Medici in 1573. From the twisted, muscular neck to the raised leg and tail, lifted up in alertness, this bull shows the great energy that characterises Giambologna's work. It also shows the clear influence of the dynamic Roman 'Farnese Bull' sculptural group, excavated in 1546. The present model is an early reproduction, dating from the 17th century, when Giambologna's oeuvre had already become of great importance to the next generation of sculptors, working in the dynamic style of the Baroque period Versions of this model are held by the Victoria and Albert Museum, London (A.75-1949), and the Royal Collection (RCIN 35469) A similar 17th century cast of the model was sold at Christie's Paris, Collection Yves Saint Laurent et Pierre Bergé, 23 ~ 25 February 2009, lot 589
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