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Lot 64
AN ITALIAN PAINTED AND GILTWOOD TABERNACLEPOSSIBLY TUSCAN, 18TH CENTURYof architectural form, the arched door with a chalice and wafer in relief, flanked by angel masks, with key44.2cm high, 32cm wide, 25.2cm deep Woolley and Wallis, Furniture, Clocks and Works of Art, 30th March 2022, lot 35.
Lot 193
AN EARLY GEORGE III MAHOGANY KNEEHOLE DESKIN THE MANNER OF GILLOWS, C.1760-70the rectangular moulded top with canted front corners, above a frieze drawer with a baize lined cover revealing divisions above six drawers flanking a pull-out architectural cupboard with a door and shallow drawer, with blind fret angles on ogee bracket feet, with a panelled back80.2cm high, 102cm wide, 58.5cm deep
Lot 277
John Brett ARA (1831-1902) Distant Capri signed and dated 'John Brett/1897' l.l., oil on canvas 38 x 76cmProvenance: A H Harman, 2 June 1897 for 100 guineas; N Mitchell;anonymous sale, Christie's, 6 March 1939 (lot 147) as Loch Fyne - unsold;anonymous sale, Sotheby's 12 March 1997 (lot 21) as Loch Fyne - sold for £1725;Exhibited: Royal Academy, 1897 (740).Literature: ‘Magazine of Art’, 1897, ill. p.155; C Payne ‘John Brett: Pre-Raphaelite Landscape Painter’ (Yale UP 2010), p.240 (Catalogue no 1473).In his last years, when he travelled rarely, John Brett frequently returned to subjects he had painted many years earlier, using material from his 72 sketchbooks (now in the National Maritime Museum, Greenwich) to provide inspiration. In the present instance, the source was a drawing dated Sep 20 63 in sketchbook 13, which contains sketches made that year in the Bay of Naples. This drawing, clearly done from a boat, depicts the coast from a point a few miles south of the town of Massa Lubrense, looking south-west towards Campanella Point, with the Isle of Capri in the far distance. The prominent architectural feature in the left foreground is probably the Torre San Lorenzo. This drawing formed the starting point for an important finished watercolour dated 1864-6, to which Brett gave the title 'Casa di Castella' (currently unlocated). Thirty years later he revisited the same source in order to create the present oil picture. It follows the design of the earlier watercolour fairly closely, but the vista towards Capri is of far greater extent, and the work is generally much richer in detail. In the entry for January 17 1897 in his Studio Log (Tate Archive) Brett wrote 'On New Year's Day I began a little picture 30 x 15 inches, Distant Capri', and he later recorded its sale at the Royal Academy that summer. Our thanks to Charles Brett for his assistance in the preparation of this catalogue entry.Condition Reportoverall: 51 x 89.5cmThe canvas is unlined. There is some impasto, in generally good condition with no signs of damage or restoration.
Lot 231
David Roberts RA RBA (1796-1864)Jaffasigned and dated 'David Roberts, 1839' l.r., further inscribed 'Jaffa, March 26th 1839' c.l., pen and ink and watercolour heightened with white24 x 34.5cmProvenance: With Walker Galleries Ltd, London, by 1933;with Leger Galleries, London, by December 1980.David Roberts was one of the earliest artists to travel to the Holy Land without military aid or private patronage. Having already found acclaim for his pictures of Spain and the Iberian peninsula, he sailed to Alexandria in 1838 with a huge ambition to record the Holy Land in a detailed way that had never been attempted by a European artist. He travelled down through Egypt and across the desert to Petra, arriving in Jerusalem at Easter 1839. From here, he continued on to the Lebanon, sailing home from Beirut after some eleven months of travel. The journey was intrepid in the extreme and at times fraught with danger from attack by locals and Bedouin tribes.During his travels, he sketched ruins, towns, landscapes and people in three sketchbooks and over 272 watercolours. The wealth of material – many of which places were largely unknown to Europeans - became the basis for 247 lithographs executed by Louis Haghe and published in three volumes: ‘The Holy Land’, alongside accompanying text by the Rev. George Croly. The enterprise was hugely ambitious, but ultimately the gamble paid off and was a great success. The lithographs went on to become some of the most popular images of the Middle East created in the 19th century, cementing David Roberts' fame and status as one of the foremost topographical artists of the Victorian age. Still, today, his works are much admired and collected.The present lot depicts Jaffa, north-west of Jerusalem. An ancient port city of Judea, Jaffa had by this time been the site of many battles, from the Romans, to the Crusades, where its position as the nearest port to the holy city made it a critical target for western advancement into the orient and in its pursuit of dominance over the Ottoman Empire. Most recently Napoleon had laid siege to the city in 1799, before it returned a few years later back into Ottoman control. Not only is Jaffa where Noah is said to have built the Ark, but also where Andromeda was chained to the rocks and Perseus is said to have bathed the wounds received in his battle with the centaurs.Roberts made several views of the city, two of which were converted into lithographs included in ‘The Holy Land’: ‘Jaffa Looking South’ and ‘Jaffa Looking North’. Our watercolour is taken from near the same viewpoint as ‘Jaffa Looking South’ (Fig.1). In the lithograph, the foreground is crowded with figures, seated or standing in groups conversing. In our version, taken slightly to the left and a little closer to the city, these figures are replaced by a camel train heading away from Jaffa and towards the viewer, a pleasing compositional device that draws the eye from the fore to mid-ground, leading into the city beyond. The work combines Roberts' masterful technique of depicting architectural detail, coupled with sweeping, less resolved areas of landscape that prevent it becoming too illustrative.Condition Reportoverall: 46.5 x 56cmThe paper is laid down. There is some slight fading and time staining, however, the work is well presented and ready to hang. It has been re-framed in the last 20 years by Harrap and appears to be acid free.
Lot 249
A GOOD 19TH CENTURY JADE HILTED INDIAN MUGHAL CHILANUM OR DAGGER, 37.5cm curved fullered blade deeply chiselled with a panel calligraphy to either side on a textured gilt ground, the forte with borders of scrolling foliage in gold koftgari and an architectural form with trefoil top and infilled with star forms in gold koftgari, characteristic hilt carved from a single piece of pale green jade, the crossguard with bud finials, the scrolling knuckle bow with bud terminal, bifurcated scrolling pommel with domed finial.
Lot 1161
A set of ten silver architectural medals by Fattorini, c. 1975, from original dies by J. Davis, c. 1850, most showing an exterior view of the building on the obverse and interior on the reverse, each 61mm, approx. 100g; viz. Canterbury Cathedral (BHM 2367), Ely Cathedral (BHM 2368), Gloucester Cathedral (BHM 2369), Lichfield Cathedral (BHM 2370), Lincoln Cathedral (BHM 2371), Oxford Cathedral (BHM 2372), St Paul’s Cathedral (cf. BHM 2498 rev.), Westminster Abbey (BHM 2373), Worcester Cathedral (BHM 2374), York Minster (BHM –) [10]. Mostly extremely fine, reverses better; in a 20th century fitted wooden case £600-£800 --- Several of the medals show very faint Birmingham maker’s marks and hallmarks on the edge, probably dating the set to 1975.
Lot 673
A Late 19th Century French Green Marble and Gilt Metal Mounted Cased Mantel Clock No.15017 the 3.5ins cream enamel chapter ring with Arabic numerals to the eight day two train movement striking on a gong contained in case of architectural design, the domed top with finial, fluted columns to sides and on rectangular base 13ins high
Lot 5502
Early 20th century two-sectional oak corner cupboard, swan neck pediment with central architectural column finial, dentil cornice over rosette carving, top section with astragal glazed door enclosing three shelves over single panelled door, on bracket feetDimensions: Height: 235cm Length/Width: 76cm Depth/Diameter: 52cm
Lot 243
A Victorian figured walnut and ebonised Vienna regulator wall clock, the case of architectural form with broken arch pediment and urn finial over over frieze with roundels, the full length door flanked by moulded pilasters, white enamel dial with Roman chapter ring and subsidiary seconds dial, twin train movement striking on a coiled gong, H130cm
Lot 280
Book. Manuscript biography of sculptor John Thomas by his brother Robert Thomas. 90 leaves written on one side only with tipped in illustrations by John Thomas. 4to. Boards, cloth spine. Last 12 leaves and back board affected by damp, some leaves quite badly.John Thomas (1813 - 1862) was an architectural sculptor. He was employed by Sir Charles Barry to work on the Palace of Westminster, other projects included Stephenson's Britannia Railway Bridge across the Menai Strait to Anglesey, Edward Walter's Manchester Free Trade Hall, Cuthbert Brodrick's Leeds town Hall, Harewood House, Castle Howard and he worked for Prince Albert, this included remodelling the print room at Windsor.The manuscript begins with a short biography of John Thomas’s brothers including the author, Robert, writing in the third person and his death is noted in a different hand. The latter part of the book is copies of letters from John to his brothers, he does not specify who he is writing to, always ‘My dear brother’ or ‘Dear Brother’ and I believe the tipped in illustrations will have been enclosed with the original letters.
Lot 338
dating: 1848 provenance: Austria, Wide, straight, single-and short false-edged blade, with light fuller on its sides. With rare and interesting inscriptions on both sides depicting mottos inspired by the Revolutions: 'Furchtlos für Wahrheit und Recht' (Fearless for Truth and Right) and 'Freiheit und Gleichheit' (Freedom and Equality). Richly elaborated characters framed within architectural structures and floral decorations. With a small signature on one side, probably of the manufacturer. Marked and dated 'Mitte... in Steyr 1848' at the back. Iron hilt. Quillon with center of crossguard provided with a small, shell-shaped valve and with quillons of octagonal section of different lengths. Brass ring nut and shell-shaped cap. Deer, horn grip. Some pitting. Black, leather-covered, wooden scabbard, with iron mounts; cap with belt hook. length 45 cm.
Lot 353
dating: 19th Century provenance: Italy, Three wooden panels with a hollow structure to include the various scenes, the effigies of the saints and the architectural structures all finely sculpted in ivory, in relief. The central panel ending in a pointed arch of neo-Gothic style, containing a structure with thin columns worked in bas-relief and supporting trefoil arches, on remains of a blue background, to imitate the interior of a cathedral. Under the arch a canopy is worked with inlays and in high relief, again with Gothic elements, and featuring a shield in the center with a coat of arms with six bezants. The canopy surmounts the first scene, a Deposition of Christ in high relief with slender and stately figures made with taste and skill, the cross is gilded and two angels with gilded wings is placed beside it. Also the other characters with remains of gilding in various elements (including in the collars and the lapels of the tunics). The lower scene depicts the continuation of the previous one: Christ has been taken down from the cross and is supported and mourned by the characters around him, the figures always majestically made of ivory in high relief. Another carved canopy delimits the last two scenes made in bas-relief and both depicting the Holy Family, one certainly depicting the Flight into Egypt. Around the central scenes a thick frame carved with ivory, probably depicting the crown of thorns and ending in a crusader shield with red and gold remains. On the two sides other ivory elements including fleches (spires) surmounting the effigies of Saints resting on bundles of columns with capitals carved with dragons. The two side panels both surmounted by the effigy of an angel whose wings feature remaining of gilding, holding a shield with a partially painted red and gold heraldic emblem, and a red bandeau intertwined with the wings, all made of ivory, always on a blue wooden background. The right panel with an architectural decoration worked in high and bas relief, taking up the main one on the central panel, the canopy shield with a different coat of arms, the main scene with the effigy of a Saint standing on a pedestal and guarded by two armigers with halberd wearing 15th-Century robes All made of ivory with remains of golden elements. The scene on the bottom is not easy to identify. A thick ivory frame with twisted elements frames the entire scene. The left panel surmounted by the same architectural decoration featuring a large scene in high relief (Jesus praying in the Garden of Olives?) in ivory with gilded elements. The scene in the background is certainly an Adoration of the Magi. The ivory frame takes up the one on the right. Obviously some slight defects due to time and aging. The wood with some restored woodworm holes, but with a still solid structure. Iron hinges. The internal wooden edge with remains of a geometric inlay decoration. A work of great value and remarkable, sculptural know-how. The triptych is provided with a regular Cites certificate (valid within the EU only). dimensions total open 59,5 x 54 x 5 cm.
Lot 609
Mid 19th Century French porcelain-mounted mantel clock, Japy Freres, 3-inch cellular Roman dial with band of floral decoration and bleu celeste borders, two-train bell-striking movement numbered 3965, architectural case with urn surmount and porcelain panel over and two further panels to breakfront base, raised on toupie feet, 26.5cm wide x 33cm high, on original giltwood plinth, 37cm high overall
Lot 223
Mexico.- [Shippard (William Henry, Captain, army officer in the 29th Regiment, of 5 Caroline Street, Bedford Square, 1803-65)] [Notes on Mexico], autograph manuscript signed, c. 255pp., slightly browned, extract from The Times newspaper 1850 tipped-in, original half straight-grained morocco, rubbed, folio, 1835-40.⁂ Subjects include: "Architectural Antiquities of Central America Yucatan"; "Uxmal or Utzalane"; "Temple for the Fire Virgins"; "Alligators Turtles &c"; "Central America Tera Cruz to River Atrato S.A."; "Map of Guatamala returned from the Survey in the Archives of that country..."; "Nicaragua. Louis Napoleon"; "Earthquakes of New World"; "American Languages"; "Mosquito" etc.
Lot 534
A FRENCH RESTAURATION ORMOLU AND PARIS PORCELAIN ARCHITECTURAL MANTEL CLOCK WITH CENTRE SECONDSBOURDIN, THE CASE ATTRIBUTED TO JEAN FRANCOIS DENIERE, PARIS, CIRCA 1830The eight-day two train bell striking movement with visible pin-wheel deadbeat escapement incorporating unusual pivoted pallets to the backplate stamped BOURDIN, A PARIS to centre over part obscured Pons MEDAILLE D'OR, 1827 to lower margin, The silvered two-piece Roman numeral dial engraved Bourdin H'r. du Roi, RUE DE LA PAIX to centre and with pierced gilt hands, the architectural case finely cast with scrollwork upstand to the fish-scale tiled hipped 'roof' over generous corbelled cornice, the front and sides inset with panels polychrome painted with Neo-classical motifs over generous stepped skirt base decorated with further conforming panels 54.5cm high, 30.5cm wide, 17cm deepProvenance:By repute previously the property of the prolific architect, garden designer and author Sir Reginald Theodore Blomfield RA (1856-1942).The present lot can be very closely compared to an almost identical example sold at Christies, New York IMPORTANT EUROPEAN FURNITURE, CERAMICS, AND CARPETS, 21st November 2008 (lot 139) for $50,000 including a matching pair of garniture side pieces.Jean-Francois Deninger, called Deniere, was one of the most important bronziers of the first half of the 19th century. He entered into partnership with Francois Mathelin in 1797 with whom he established a substantial workshop which employed over 200 workers during the Empire period. Amongst Deniere's clients were the duchess de Berry and Louis Philippe, the duke of Hamilton, Ferdinand VII of Spain, William II of Hesse, William II of Holland, Tsar Alexander II of Russia. They were also commissioned to finish some of the bronze work for the redecoration of the White House in Washington and the mounts for Charles X coronation coach in 1825. By the time Louis-Philippe was on the throne the workshop had expanded to around 400 workers.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. We have not tested it for accuracy of timekeeping and would advise a precautionary gentle clean/service. The dial has overall even mellowing/oxidation to the silvering; the hands appear undamaged the bezel/surround has some patchy discolouration to the gilding. The case is in very fine original condition retaining good strong gilding with well-defined burnished highlights. There are a few slight areas of spotting and minor edge wear to the edges of the lower skirting. The rear is finished flush and has some overall noticeable oxidation coming through the gilding. The porcelain panels are free from visible faults (including noticeable rubbing) except for a very small area of edge wear to the extreme top left corner of the lower left front panel (within the upper part of the skirting); this is only visible on very close examination.Clock is complete with a pendulum (probably not original) and a winding key. 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.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description.Condition Report Disclaimer
Lot 460
Clare WHITE (1903-1997) Le Corbusier's Notre Dame de la haute Watercolour, initialled, inscribed to verso, 37.5 x 51cm.The huge curving roof of Le Corbuiser’s modern masterpiece is the focus of St Ives artist Clare White’s watercolour painted in Ronchamp in the 1960s. Clare had a lifelong fascination with capturing architectural forms, both ancient and modern, during her many travels. This painting very much combines Clare White’s distinctive and engaging illustrative style with the architect’s visionary structure.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 471
Clare WHITE (1903-1997) Walking out, Grindelwald Switzerland Watercolour, signed, 35 x 42.5cm.St Ives artist and dedicated traveller Clare White loved to paint the colourful houses of Grindelwald, and loved it all the more if a young couple walked out in front of her in traditional lederhosen and a crisp white apron. This painting is a good example of Clare’s illustrative style which combines strong line, bright colour and an eye for architectural detail. Each painting captures a sense of place and time and many, like this one, invite the viewer to see a narrative too.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 472
Clare WHITE (1903-1997) Chapel Bridge, Lucerne Watercolour, 38 x 47.5cm.St Ives artist Clare White visited Switzerland regularly in the 1950s and 1960s and painted several views of the 14th century Chapel Bridge in Lucerne. Her pictures act as faithful records of the original wooden structure which was badly damaged in a fire in 1993, and, although rebuilt, was never quite the same again. This painting encapsulates every aspect of what makes Clare’s watercolours sing: the effortlessly drawn architectural features, the bold outline, the contrast between sunlight and shade and the animated swirl of rushing water.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 439
Clare WHITE (1903-1997) Ancient Theatre of Taormina and smoking Etna Watercolour, 38.5 x 50.5cm.St Ives artist Clare White loved the combination of dramatic landscape and ancient architectural ruins which Sicily offered. Sharing the frame with the elegant Hellenistic theatre from the Third Century BCE are the ancient city and its wooded peaks – all watched over by the ominously smoking Mount Etna in the distance.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 484
Clare WHITE (1903-1997) Two works Storm over Marksburg Castle, BraubachWatercolour, signed, 38 x 51cmThis dramatic Rhine view shows the medieval Marksburg Castle towering above the town of Braubach with the river drawing the eye into the distance. St Ives artist Clare White was adept at painting architectural form and she managed to squeeze three churches into this watercolour. It is an illustration full of depth and character. A curator of White’s work once asserted in his exhibition catalogue that had she chosen commercial illustration as a career, he had no doubt she would have become a household name.andClare WHITE (1903-1997)The three spires, MarksburgWatercolour, 38 x 51cmRich purple and blue hues combine in this stormy scene on the Rhine. St Ives watercolourist Clare White’s atmospheric composition takes in three church spires surrounding the Gothic Marksburg Castle which looks down on the town of Braubach. In this painting in particular, the artist seeks to draw out the scene’s abstract colour and ambience as the day darkens around the constant flow of the river.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 456
Clare WHITE (1903-1997) Colourful windows, Le Corbusier Chapel Watercolour, signed, inscriptions to verso, 38 x 51.5cm.St Ives artist Clare White turns her illustrative eye to the architectural detail at the back of Le Corbusier’s Chapel of Sainte Marie de la Tourette in this watercolour. Clare wrote the following on the back of the painting which gives an insight into her forensic eye as an artist and lover of structure and form: ‘holes to let light into small chapel below, curtains drawn across windows of uneven width, mathematical progression with refectory etc. behind.'From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Lot 247
A Louis XVI-style 8-day gilt metal mantle clock, late 19th century, the architectural case set with floral painted Severes style bleu celeste panels, the Japy Brothers movement chiming the hours and half hours as a passing strike on a single bell. 40 cm wide x 35 cm overall heightA private collection estateThe case has been re-gilded with some kind of "Liquid Leaf" or similar gilding paint, it is structurally good but shows some blistering under the gilding.The porcelain panels are intact, the porcelain dial typically has some small chips around the winding holes.The clock has No key but comes with a pendulum.Both barrels wind but I can not get the chime to activate at the indicated hour or with a passing strike.The movement runs but this is NO guarantee of accuracy or reliability.
Lot 509
Ernst Fuchs, 1930 Wien – 2015 ebendaDer Künstler gilt als ein Mitbegründer der Wiener Schule des Phantastischen RealismusMONUMENTALPLASTIK: MOSES-BRUNNENBronze, gegossen, mittelbraun patiniert.Höhe: 185 cm.Gießerei: Kunstgießerei Strassacker, Wien. Edition 6/6.Anfang der 1970er-Jahre erwirbt Ernst Fuchs eine zum Abbruch bestimmte Villa im Wiener Stadtteil Penzing, restauriert sie und passt sie mit behutsamen kleinen Eingriffen seinem eigenen künstlerischen Stil an. Bereits als Kind soll er seiner Mutter versprochen haben, das Gebäude einmal zu erwerben. Hier wohnt er mit seiner Familie, stellt seine Objekte aus. Wohnhaus und Garten werden zu einem Künstlerhaus europäischen Ranges. Die Brunnenanlage ist zentraler Punkt des Architekturensembles; sie entwickelte sich zwischen den Jahren 1986 und 2000 und stellt ein Nymphenheiligtum über einer Quelle dar, die Anklänge zu antiken Vorbildern mit ihrer Säulenarchitektur bietet und von Freitreppen umrandete Kaskaden zeigt. Die Moses-Plastik wurde 1965 bis 1970 konzipiert und beinhaltet eine Wiederaufnahme der Moses-Figur des Michelangelo in Rom, ist also ein Rückgriff auf die Renaissance. Die Hörner, die wir auch bei unserer Bronze sehen, ist ein Symbol für die Fähigkeit zur prophetischen Schau, mit der Gott Moses nach der Rückkehr vom Berg Sinai bedacht hatte. Moses schlug mit dem Stab gegen einen Felsen, wo ein Quell fortan Wasser spendete, als sein Volk in der Wüste zu verdursten drohte, auch teilte Gott für Moses das Rote Meer, sodass dem Volk Israel die Flucht ermöglichst wurde, sodass Moses auch als Schützer vor der ungebändigten Macht des Wassers gesehen werden kann. Wie eine Schutzmantelmadonna umfängt Moses Mantel die Menschen, die ihm hier in der Plastik in den Mantelkanneluren eingestellt sind. Provenienz:Atelier Ernst Fuchs.Dort vom Vorbesitzer erworben.Anmerkung 1:Das hier angebotene Objekt wurde in der Traditions-Kunstgießerei Strassacker in Wien gegossen, der Ernst Fuchs gern seine Skulpturen-Entwürfe zur Umsetzung in Bronzeguss anvertraute.Anmerkung 2:Vier weitere Exemplare sind zu findem am original Standort, dem Nymphäum Omega in der Otto-Wagner-Villa (Ernst-Fuchs-Museum Wien-Penzing), auf dem Domvorplatz in Wiener Neustadt, im Stadtpark von Bärnbach in der Steiermark sowie in einer Privatsammlung.Ausstellungen:2017, Hoffnungs(t)raum Phantastisch. Eine Reise durch die phantastische Kunst, Kunsthalle Leoben.2017-2022, Blauer Salon des Ernst-Fuchs-Museums, Wien. (1352161) (13)Ernst Fuchs,1930 Vienna - 2015 Ibid.The artist is considered a co-founder of the Vienna School of Fantastic Realism.MONUMENTAL SCULPTURE; MOSES FOUNTAINHeight: 185 cm.Foundry: Kunstgießerei Strassacker, Vienna. Ltd. edition no. 6/6.Bronze; cast with mid-brown patina. At the beginning of the 1970s, Ernst Fuchs acquired a villa destined for demolition in the Penzing district of Vienna and subsequently restored and adapted it to his own artistic style with small, cautious changes. As a child he is said to have promised his mother that he would purchase the building one day. He lives here with his family, exhibits his objects, and the house and garden became an artist’s house of European rank. The fountain complex is the central point of the architectural ensemble and was developed between 1986 and 2000 and represents a sanctuary for nymphs above a spring, which is reminiscent of ancient models with its columnar architecture and shows cascades surrounded by open staircases. The Moses sculpture was designed between 1965 and 1970 and includes a re-enactment of Michelangelo’s Moses sculpture in Rome, so it is a throwback to the Renaissance. The horns, which also adorn the present bronze sculpture, are a symbol of the ability for prophetic vision that God bestowed on Moses after his return from Mount Sinai. Moses struck his staff against a rock where a spring gave water from then on, when his people threatened to die of thirst in the desert. God also divided the Red Sea for Moses so that the people of Israel could flee, hence Moses can also be interpreted as a protector from the untamed power of water. Like the cloak of the Virgin of Mercy, Moses’ cloak encloses the people who are placed in its folds.Provenance:Atelier Ernst Fuchs.Acquired there from the previous owner. Notes 1:The object offered for sale here was cast in the traditional Strassacker art foundry in Vienna that Ernst Fuchs readily entrusted with the bronze casting of his sculptural designs.Notes 2:Four more copies can be found at their original location, the Nymphaeum Omega in the Otto-Wagner-Villa (Ernst-Fuchs-Museum Vienna-Penzing); on the cathedral square in Wiener Neustadt, in the city park of Bärnbach in Styria and in a private collection.Exhibitions:2017, Hoffnungs(t)raum Phantastisch. Eine Reise durch die phantastische Kunst, Kunsthalle Leoben.2017 - 2022, Blauer Salon des Ernst-Fuchs-Museums, Vienna.
Lot 340
Giovanni Domenico Gambone, 1720 Turin – 1793, zug.GemäldepaarARCHITEKTURCAPRICCI MIT FIGURENSTAFFAGEÖl auf Leinwand. Doubliert.85 x 112 cm.In vergoldeten Profilrahmen.Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 11. Januar 2015, in Kopie.Das vorliegende Paar Ansichten ist im Umkreis von Vittorio Amedeo Cignaroli und Giovan Battista Cimaroli entstanden und verbindent eine stimmungsvolle Landschaft mit Architekturcapricci unter Verwendung antiker Versatzstücke. Sestieri hält eine Zuschreibung der Gemälde an den genannten Maler für möglich, da sie mit einigen seiner signierten Gemälde verglichen werden können. Gemälde, die ihm zugeschrieben werden, werden etwa in der Banco Popolare di Novara oder auch in der Galleria Giamblanco in Turin verwahrt.Literatur:Vgl. Mostra del Barocco Piemontese, 1963, Bd. II: Pittura, scultura, arazzi, Turin 1963, S. 41, Tafeln 163-164.Arabella Cifani, Franco Monetti, I Piaceri e le grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, Bd. I, Turin 1993, Tafeln 181-184. (1351308) (13)Giovanni Domenico Gambone,1720 Turin – 1793, attributedA pair of paintings. ARCHITECTURAL CAPRICCIOS WITH FIGURAL STAFFAGE Oil on canvas. Relined.85 x 112 cm.Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, 11 January 2015, in copy.Literature:cf.: Mostra del Barocco Piemontese, 1963, vol. II, Pittura, Scultura, Arazzi, p. 41, plates 163-164.A. Cifani and F. Monetti, I Piaceri e Le Grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, vol. I, Turin, 1993, plates 181-184.
Lot 334
Venezianischer Meister des 18. JahrhundertsFANTASIEARCHITEKTUR MIT ANTIKEN SÄULEN UND TEMPELBAUÖl auf Leinwand.60 x 95 cm.Gerahmt.Der dominierende Gegenstand im Gemälde ist die Gebäudegruppe im linken Bildfeld. Hier bilden Säulen und Gebälk eines Tempels in Art antiker Capriccios den Bildabschluss, dahinter ein zweistöckiger, hochragender Kuppelbau mit angesetztem Säulenportikus. Als interessanter Aspekt im Bild sind hier neben den zahlreichen Figurennischen Baugerüste zu sehen, auf die auch einige der Staffagefiguren hinweisen. Im rechten Bildfeld lagunenartiges Gewässer mit gondelähnlichem Segelschiff, dahinter in hellem Licht stehende Gebäude in der Ferne, wobei es sich auch hier um Fantasiebauten handelt. Thema und Bildelemente erinnern an Werke des sehr viel früher in Rom und Neapel wirkenden Malers Desiderio Monsu. A.R. (1351581) (11)Venetian School, 18th centuryARCHITECTURAL CAPRICCIO WITH ANCIENT PILLARS AND TEMPLE Oil on canvas.60 x 95 cm.
Lot 52
dating: Mid 19th Century provenance: Papal States, Straight, tipped, single-and-short false-edged blade, with double fuller, featuring the motto 'VIVA PIO IX' between trophies on the right side and engraved with trophies and floral motifs on the left side. Gilded brass mounts with a large sword-shell worked in relief with architectural motifs (no cracks), the main loop-guard decorated in relief and provided with other three loop-guards ending in a curl. The guard with the typical forked end and pommel shaped as a lion's head. Brown horn grip (small lacking part) with wire binding and brass wire. Iron scabbard with brass mounts, two lugs. Gilded threads sword knot. length 99 cm.
Lot 34
dating: Second quarter of the 19th Century provenance: Kingdom of the Two Sicilies, Curved, single-and false-edged blade, with hollow tip on the back, featuring at the forte a segment engraved on both sides; on one side engraved with a trophy of arms and armours, on the other with the motto 'Ne me tirez pas sans raison - Ne me remettez pas sans honneur'. Iron hilt with stirrup guard featuring remains of engraved floral and architectural motifs. Horn grip with a spiral of wire bindings and copper wire. Long cap engraved en suite. Without scabbard. length 93 cm.
Lot 353
dating: first quarter of the 19th Century provenance: Kingdom of the Two Sicilies, Straight, double-edged blade of lenticular section at the forte, then ribbed up to the tip, featuring remains of signature and date 'Gius. Labruna / Napoli 1818'. Brass hilt with remains of gilding. Shell-guard with frieze in relief bearing a battle scene, guard with warriors and architectural elements, cap and pommel with floral motifs. Mother-of-pearl grips with fluted decorations. Earlier leather scabbard (repairs and restoration) with brass mounts. length 96 cm.
Lot 46
dating: 1802 - 1805 provenance: Italian Republic , Wide, curved, single-and short false-edged blade, with fuller for almost its entire length, featuring at the forte the motto 'VIVERE LIBERO OR MORIRE' on the right side and an engraved ornament with architectural motifs at the base; the motto 'VIVA LA REPUBBLICA ITALIANA' and a similar architectural ornament on the left side. Bronze hilt with stirrup guard, rounded langets, long smooth cap. Grip with old leather cover without wire binding. Iron scabbard without mouthpiece (slightly opened at the beginning) painted black (colour possibly refreshed) and provided with two lugs mounted on loops directly connected to the scabbard. The motto refers to the Italian Republic, a very short-lived Napoleonic state (1802-1805), born out of the Cisalpine Republic, whose president was Napoleon himself. length 99 cm.
Lot 7
dating: first quarter of the 19th Century provenance: Italy, Straight blade of triangular section with hollow sides, blued at the forte and featuring small engraved decorations with remains of gilding; at the base mark 'P.D.L.'. Fine mercury-gilded bronze hilt. The shell-guard with a beautiful floral decoration in relief on a granular background. Quillon carved with a spider's web at the base. Guard decorated with floral motifs and spider webs. Pommel with floral and architectural elements provided with a button worked as a bud. Mother-of-pearl grip scales. Leather scabbard (probably a later replacement.) Earlier mounts with remains of mercury gilding, the button of the cap decorated en suite with the cap. Elegant and very well preserved considering its age. length 95 cm.
Lot 48
Robert Bateman (British, 1842-1922)A May Madrigal signed and dated 'ROBERT/1869/BATEMAN' (lower left), inscribed 'A May Madrigal/Painted by ROBERT BATEMAN of Biddulph Grange, Staff &/given by him to Miss (Rose) PRESTON (on her marriage)/September 1869' (on a label attached to the reverse)gouache27 x 39.5cm (10 5/8 x 15 9/16in).Footnotes:Robert Bateman was a minor figure within the Pre-Raphaelite movement; he entered the Royal Academy Schools in 1865 and went on to exhibit at the Academy between 1871-89, as well as at the Grosvenor Gallery. He submitted 5 works to the Dudley Gallery in 1868, the Art Journal noting that Bateman's work saw a shift in emphasis from the Ruskin-esque mantra of 'close to nature', using medieval motifs 'as an escape from naturalism'1 The son of a horticulturalist, Bateman's work was often populated with architectural and botanical themes. Christopher Wood describes the style of his work as 'compounded of Burne-Jones and eclectic study of early Italian Renaissance painters'2.Bateman's Pool of Bethesda (1876) is in the collection of the Yale Center for British Art, and his work has featured in various exhibitions such as The Last Romantics (Barbican Art Gallery, London, 1989) and Pre-Raphaelite Vision (Tate London, 2004)1Christopher Newall, catalogue entry for The Three Ravens, exhibition catalogue for Pre-Raphaelite Vision, London, 2004, p. 235.2Christopher Wood, Dictionary of Victorian Painters, Woodbridge, 1995, p.42.For further information on this lot please visit Bonhams.com
Lot 10
Frans Vervloet (Belgian, 1795-1872)A view of the Fatih Mosque, Instanbul signed, inscribed and dated 'R Vervloet Constantinople/1843' (lower right)oil on paper laid on canvas40.7 x 31.4cm (16 x 12 3/8in).Footnotes:ProvenancePrivate collection, Italy. Frans Vervloet was born in Mechelen in 1809 where he studied at the Akademie voor Schone Kunsten. Additional tuition was provided by his brother Jan J. Vervloet (1790–1869), his early career focused on church interiors and architectural painting for which he gained a good reputation. This resulted in a scholarship to study in Italy and being greatly inspired by the architecture he would spend most of the remainder of his career in the country. After studying in Rome Vervloet travelled to Naples and was heavily influenced by the Posillippo School of painters and would himself become a celebrated vedute artist. Although eventually settling in Venice, Vervloet travelled to Constantinople and in the present lot we see the culmination of many years of architectural painting and his time in Naples in the faithful representation of the Fatih Mosque and its environs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 33
A rare, small and narrow Charles I oak, elm and fruitwood canted cupboard, in the Laudian Manner, circa 1630Having a one-piece top with unusual angled and chip-carved ends, a deep frieze with reeded reserves spaced by split-baluster mouldings and button boss, atop a cupboard of canted form, enclosed by a central panelled door, the panel with bold turned concentric circles centred by carved cardinal points and button boss, with conforming spandrels, and matching side panels, flanked by unusual elm 'reel' and inverted-baluster turned end-columns, the lower-section with a pair of panelled cupboard doors, each with a conforming applied arch, raised on fluted columns, with a central acorn and baluster-turned split-moulding, the mouldings repeated to the front stiles, twin-panelled sides, traces of painted decoration, doors with original tenoned riveted hinges, 120.5cm wide, 129cm high, 40.5cm deepThis cupboard is an early example of ‘The Laudian Style’ in England, named after William Laud (Bishop of London 1628-33, Archbishop of Canterbury 1633-40, d. 1645). It is characterised by a very pure architectural form, and mature Roman-Italianate decoration, very much in the style of Indigo Jones, appointed surveyor of James I's Royal Works, and the beginnings of Palladianism.
Lot 74
NATALIBUS (PETRUS DE)Catalogus sanctorum: vitas, passiones & miracula commodissime annectens: ex voluminibus selectus, title printed in red and black within architectural woodcut border, large woodcut of the Crucifixion, double column text illustrated throughout with approximately 1600 woodcuts of saints, some within historiated initials, printer's device on verso of final leaf, some occasional light damp-staining (mostly marginal), a few small rust marks, title stained, various early and later ink inscriptions to title-page (recto and verso), below crucifixion woodcut and on colophon, pencil and ink notes on front free endpaper, eighteenth century French mottle calf, rebacked and recornered, gilt panelled spine spine with repeated floral tool and raised bands [Adams N50], 4to (253 x 170mm.), Lyon, N. Petit and H. Penet, 1534Footnotes:Provenance: Jean Roussel (possibly the priest at the Eglise Saint-Gervais, spiritual adviser to Pierre and Madame Acarie, 'Blessed Marie de l'Incarnation'), inscription on title-page ('Sum Joannis Roussel'), followed by a quote from Proverbs in Latin ('Give me neither poverty nor riches...'); Gabriel de Villars, presentation inscription dated 1599 on final page and signature on title-page; Monastery of Saint Vedast, or Vaast, Arras, inscription in upper margin of title-page; Claude-Robert Jardel (of Braine, 1712-1788, antiquary, bibliophile and manuscript collector), ownership inscriptions on title ('Ex libris Jardel' and 'Jard[el]/ 17[?]', in margin, cropped), verso of title ('Ex Biblioth. Claude Rob. Jardel') and beneath crucifixion woodcut ('Ex libris Claud. Rob. Jardel'); Sir Francis Palgrave (1788-1861, archivist and historian), inscribed on fly-leaf 'For my dear Inglis/ F.P./ 14 Jul.[?] 1843'; Inglis Palgrave (1827-1919, economist, son of Sir Francis Palgrave and brother of Francis Turner Palgrave, compiler of the Golden Treasury), bookplate; Edward Ingram Watkin (1888-1981, Catholic philosopher, pacifist and writer), lengthy notes on verso of front free endpaper, mostly in pencil, concerning the early and recent provenance (...'[in 1919] I purchased this book from Messrs. Baker... given to my daughter and son-in-law November 4 1964'); Richard and Magdalen Goffin (the son-in-law and daughter referred to above), bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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