SAMUEL WEST (1810-1867) Cardinal Wolsey leaving London after his Disgrace Signed 'S.West' Oil on canvas, 102 x 140cmExhibited: Royal Academy 1841; British Institution 1842; Cork Art Union Exhibition, 1843.Literature: A Dictionary of Irish Artists, W.G. Strickland, Pg. 518Samuel West was born in Cork in 1810, to a bookseller father who had moved to Cork from London. West most likely commenced his artistic training in Cork, however, he also travelled to Rome to study during his formative years. Between 1840 and 1867, West exhibited works at The Royal Academy of Arts London and The British Institution. This work was exhibited at the RA in 1841, the B.I in 1842 and the Cork Art Union Exhibition in 1843. In his later years, West turned to copying works of old masters in watercolour such as Titan’s ‘L’homme au Gant’. (A Dictionary of Irish Artists, W.G. Strickland, Pg. 517-518) Born in 1473, Thomas Wolsey was and English statesman and a Catholic cardinal. His rise in status coincided with accession of Henry VIII. As King of England, he appointed Wolsey as his almoner and gave him a seat of his privy council. By 1514, he became the controlling figure in virtually all matters of the state, reaching the position of the Lord Chancellor. Which he held from 1515 until 1529. He was appointed Cardinal Archbishop of York in 1514 by Pope Leo X.Wolsey fell out of favour after failing to negotiate an annulment of Henry’s marriage to Catherine of Aragon and was thus stripped of his government titles. He retreated to York to fulfil his ecclesiastical duties as an archbishop but was called to London to answer the charges of treason, charges commonly used by Henry VIII against those who fell out of his favour. Wolsey died of natural causes following an accident boarding a royal barge at Cawood, before he could reach London. This impressive painting presents the moment Cardinal Wolsey was expelled from his London residence, The Palace of Whitehall, to board a royal barge to York after the loss of his government position. Whitehall was subsequently taken over by Henry VIII as his principal residence in the capital after the apartments of Westminster were destroyed by fire. Whitehall served as the seat for English Monarchs from 1530 until its destruction also by fire in 1698. It was an incredibly impressive complex of buildings and at one time the largest palace in Europe. In this work, West depicts the east side of the palace which faces onto the banks of the river Thames.A large crowd has gathered to witness the Cardinal departing, most of the faces seem forlorn, mourning his expulsion from the city. He is escorted by four armed guards, their halberds raised in the air above crowd. Despite his loss of title, he is still treated with great respect by his attendants and household. Courtiers lift the train on his robe, a tapestry carpet has been laid along the steps, and he is helped into the boat by a gentleman dressed in furs, holding in his hand the letter which sealed the Cardinal’s fate.To the right of the composition is figural group of a woman and two children, set slightly apart from the larger crowds. She looks on in distress at the Cardinal. Wolsey was in a ‘non-canonical’ marriage for a decade with Joan Larke of Yarmouth. They had two children, Thomas (born c.1510) and Dorothy (born c.1512), both were born before he was ordained bishop. While the children in this painting would be too young to be either his son or daughter, West may have used this figural group to add further sympathetic appeal towards the Cardinal.The composition follows two diagonals, the first created by the architectural façade of Whitehall stretching along the banks of the Thames, and into the distance. The second is created by the crowd of people following the Cardinal as he descends steps. He stands at centre of the composition, clad in a bright red clerical vestments and hat. Visually he commands the attention of the crowd and us as the viewer. At this time Cardinals wore red to distinguish themselves from all other clerics, signifying the importance of their standing in the religious hierarchy. Presenting him in his vestments may have been an attempt by West to convey Wolsey’s continued sense of pride in his position even after being stripped of his government titles.
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JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see restorer's photograph below, before canvas was lined, c. early 1980s) Oil on canvas, 126 x 105cm In a carved giltwood frameProvenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (1782-1850), by descent to the 7th Earl of Dunraven and Mount-Earl, sold Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as Colonel Clark Wyndham of Orchard Wyndham); Private collection, IrelandLiterature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright, The Connoisseur, February 1975, pp. 109-115, illus. (as portrait of an unidentified gentleman, Collection of the Earl of Dunraven) Robert O'Byrne ed., A Vanishing World, The Irish Country House Photographs of Father Brown, Dublin 2024, p. 20 (illustrated in the drawing room)Sir Francis Wyndham, 1st Baronet (1610-1676)Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670.John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era.Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland. Condition Report: In good condition overallOil on canvasAs stated in the cataloguing the painting was restored and lined probably in the early 1980s's after the purchase from Adare Manor sale in 1982On closer inspection there are a couple of small areas of retouching to the upper left backgroundThere is some minor rubbing and loss of definition to the hairThere is scattered craquelure e.g.. to the right cheek and to the armour of the upper right leg.Examination under UV light is difficult to read due to the murky varnish however reveals the aforementionedThe integrity of the impasto remains in particular in the tassels and beltThe frame is in good condition and has been re-gilt
AN IRISH GEORGE III FOUR DOOR BREAKFRONT BOOKCASE, surmounted with pierced architectural pediment above astragal glazed doors, enclosing adjustable shelving, the base with fluted frieze and fall-front secretaire, on square tapering legs. 235cm high, 232cm wide, 43cm deep Condition Report: The twin centre doors open and reveal a space where you could put a televisionThe glass generally is old and some of the panes are wavy and bubblesone pane is cracked (see photo)The mahogany has a brownish hue but also slightly reddish
AN IRISH GEORGE III MAHOGANY LONG CASE CLOCK BY JOHN CRAMPTON OF DUBLINthe rectangular hood, the broken architectural pediment, reeded pilasters, with single glazed door opening to gilt metal dial with Roman numerals signed J. Crampton, Dublin, with day and second apertures, waisted trunk with solid single door, on outset base with bracket feet. 237cm high Condition Report: 50cm wide, 25cm deep
RAFAEL CONTRERAS (SPANISH 19TH CENTURY)A polychrome and gilt decorated architectural panel (based on the Alhambra, Granada), with a band of Kufic text above windows and mihrab arches, mounted in an easel-backed frame, the panel 38 x 33cmRafael Contreras was the chief restorer of the Alhambra Palace in Granada during the 19th century, he produced a variety of architectural panels for the tourist market, many of which settling in museums and high-end private collections. A comparable example can be found in the Met Museum, New York
A FRENCH GILTMETAL KINGWOOD MARQUETRY AND BRASS MOUNTED BED IN THE MANNER OF LINKE FRANÇOIS 19TH CENTURY, the domed headboard, with an architectural moulded cornice, above a central oval vignette depicting cupid with his bow and arrow drawn, enclosed within brass scrolling boarders, the bed end with corresponding decoration. The headboard 174cm high, 170cm wide
A DUTCH BOOK OF HOURS FOR USE OF ROME LATE 15TH CENTURY,illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with 'Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut outProvenance: Private Dutch CollectionThe core text of a Book of Hours is a series of prayers, readings and psalms known as 'The Hours of the Virgin. These prayers were to be recited daily at eight set 'hours' to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation. The ‘Use of Rome’ refers to a book of hours intended for the "use" of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days. The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty. The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects. It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual. The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated figure, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4). Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support. The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread in Christian art.The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret. The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.
Attributed to William Bell Scott (Scottish, 1811-1890) -'A Collection of Sketches, Drawings and Prints illustrating English Costume, M.S.S., Architecture, etc., chronologically' -Over a thousand illustrations historical encompassing ornaments, architectural elements and others, many of them inscribed, including traced drawings by Francis Henry Salvin and after Albrecht Durer -Page size 36 x 28cm -Scott's bookplate attached to the cover -The opening page with handwritten title -The spine reads 'English Archaeology'
A Georgian mahogany stick barometer the silvered dial engraved with barometric markings, vernier gauge, hygrometer and signed Bellatty, the mahogany stick case with inlaid shell decoration to the trunk, a turned cistern cover and inset barometer to the trunk, surmounted by an architectural pediment with brass finial.
A collection of carved wood columns, previously architectural and bedposts, 18th and 19th century; including a set of four with Normal capitals and knopped tapering shafts, 172cm high; a pair with simple Tuscan style capitals, 202cm high; a fluted example with Corinthian capital; and various others
Gugeri, London, a mahogany stick barometer the silvered dial signed Gugeri, London and engraved with stylised barometer markings and vernier gauge, the mahogany case with visible tube and having inlaid boxwood and ebonised stringing, a turned cistern to the base, glazed door to the dial and surmounted by an architectural pediment with brass finial, height 98cm.Gugeri were a well-known family of barometer makers including Andrew working in Holborn and Hatton Garden in the early-to-mid 1800s and Felix working in Leather Lane, London from circa 1850.
A fine Irish Victorian Kilarney yew wood and marquetry occasional table, mid 19th century; the circular flip top with a central tondo depiction of a ruined abbey within a ropework border, within a foliate wreath; surrounded by six further architectural depictions in oval reserves, including a cottage orné, a river bridge, ruins and a stately home; with scalloped and moulded edge; the block on three baluster turned supports with shamrock ornament to a lobed hexagonal boss; the triform base with further marquetry architectural vignettes and trailing shamrock decoration; on three carved paw feet; 73cm high, 70cm diameter
A group of cast and wrought iron architectural wall brackets and other elements, late 19th /early 20th century; comprising a set of four, with open scrollwork, 61 x 61cm; a pair with writhen stems and open scrollwork, 66cm high; two similar examples with Art & Crafts style floral casting; and five ridge supports (13)
WELSH SCHOOL C. 1880 Denbigh Asylum, North Wales Straw and watercolour, 46 x 59cm InscribedThe Denbigh Asylum, also known as the North Wales Hospital was designed by Architect Thomas Fulljames FRIBA (1808-1874) and the building was completed in 1848. Its history as a treatment centre for patients with psychiatric illnesses has been divisive at best, given that its foundation was heralded by the passing of the 1845 Lunacy Act only three years previously. Therefore, treatments were rarely standardised and often archaic in nature. The hospital did later encourage its patients to partake in recreational activities such as sports, concerts and crafts, of which straw art was likely included. This skill was popularised in the 1880s in Wales and is generally used to depict architectural monuments such as bridges, institutions and so on as the rigidity of the straw lends itself well to these man-named forms.
A TROMP L’OEIL TWIN HANDLED TRAY DEPICTING AN ARCHITECTURAL COLONNADELate 20th Century Possibly coquille d’oeuf lacquer, depicting classical columns with a chequered floor, 61cm wide; 41cm deepCondition: Multiple chips to the lacquer around the gallery and handles. Tray is in useable condition
Ca. AD 100 - 300.A Roman silver ring with a circular bezel depicting the facade of a temple. The temple is engraved with architectural decoration on the corners of the rooftop and a statue of a seated deity inside. Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 5.7gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s.
Ca. AD 500 - 700. A rare Byzantine gold bishop's ring with a domed bezel supported by six stylised columns. This kind of ring was intended to convey the architectural mastery of Byzantine churches, hence why it is sometimes referred to as an architectural ring. Size: D:17.73mm / US: 7 1/2 / UK: O 1/2; Weight: 15.4g Provenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 500 - 700.A beautiful Byzantine architectural gold ring. The ring features a round, flat hoop decorated with geometric and rope-shaped motifs. The bezel is raised with hexagonal open-work and is adorned with golden pellets. The top of the bezel showcases a gold dome framed by a circular gold rope, surmounted by a gold pellet at its center.Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 5gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
A late 19th Century Black Forest carved softwood mantel cuckoo Clock, by Gordian Hettich Sohn, with two train movement striking on a gong, the back plate stamped 'G.H.S.', the dial applied with Gothic Roman numerals, the architectural case carved and pierced with a bird above fruiting vine, on a rectangular fenced base and bracket feet, with pendulum, W 28.5 cm x H 43 cm x D 24 cm.
AUGUSTE RODIN (1840-1917)Cariatide tombée portant sa pierre, petit modèle signed 'A. Rodin' (on the left side of the base), inscribed with the foundry mark 'Alexis Rudier. Fondeur. Paris.' (on the back of the base) and stamped with the raised artist's signature 'A. Rodin' (on the inside of the base)bronze with dark brown patina44.3 x 28.9cm (17 7/16 x 11 3/8in).Conceived circa 1881, this bronze version cast by the Alexis Rudier foundry in an edition of over 12 between 1902 and 1951.Footnotes:This work will be included in the forthcoming Auguste Rodin Catalogue critique de l'oeuvre sculpté, currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceWalter A. May Collection, Pittsburgh.Florence & Walter A. May, Jr. Collection, Pittsburgh (by descent from the above).Private collection, US (by descent from the above).Private collection, US (by descent from the above).LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 63 (another cast illustrated p. 27).G. Grappe, Le Musée Rodin, Monaco, 1947, p. 141 (another cast illustrated pl. 43).J-F. Chabrun & R. Descharnes, Auguste Rodin, London, 1967, p. 80 (another cast illustrated).B. Champigneulle, Rodin, London, 1967, no. 56 (another cast illustrated p. 134).L. Goldscheider, Rodin Sculptures, London, 1970, p. 117 (another cast illustrated pl. 20).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum, Philadelphia, Philadelphia, 1976 (other cast illustrated pl. 25).M. Busco, Rodin and His Contemporaries, The Iris & B. Gerald Cantor Collection, New York, 1991 (another cast illustrated pl. 25; marble and stone versions illustrated pls. 22-24 & 26).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. I, Paris, 2007, no. S.477 (another cast illustrated p. 245).Auguste Rodin's Cariatide tombée portant sa pierre, petit modèle is a poignant example of the master sculptor's ability to imbue classical forms with deep emotional resonance. Conceived in 1881-1882 as part of Rodin's monumental project La Porte de l'Enfer ('The Gates of Hell'), this work demonstrates both his innovation in representing human struggle and his shift towards a more personal and expressive approach to sculpture.Rodin's La Porte de l'Enfer was inspired by Dante Alighieri's (c. 1265-1321) La Divina Commedia ('Divine Comedy', c. 1308-1321), particularly the first of the three major sections, Inferno. It was commissioned in 1880 as the entrance to a proposed Musée des Arts Décoratifs in Paris. Although the museum was never built, the monumental portal occupied Rodin for decades, providing the source material for some of his most iconic sculptures, including Le Penseur ('The Thinker') and Le Baiser ('The Kiss') (see, for example, lots 110 and 141). Cariatide tombée portant sa pierre was originally positioned at the top of the left pilaster of the gates, her form bent and crushed by the stone she bears, a metaphor for the weight of human suffering and destiny.A caryatid traditionally refers to an architectural figure, often a female, used as a supportive column or structure in place of a pillar. The origins of caryatids trace back to Ancient Greece, particularly the Erechtheion on the Athenian Acropolis (421-406 B.C.), where six serene women uphold the structure of the temple. However, in Cariatide tombée portant sa pierre, Rodin transforms this classical figure into something far more human and tragic. Rather than a stately, strong column, Rodin's caryatid is crushed under the weight of her stone, a symbol of human suffering and perseverance. This particular version, where she bears a large stone rather than an urn, carries a greater emphasis on the sense of physical as well as emotional burden. The substitution of the stone for the urn in fact came to Rodin at the suggestion of a client.Rodin's interpretation of the fallen caryatid is not merely an architectural ornament but an exploration of the psychological toll of existence. The twisting form, with its hunched shoulders and bent knees, draws the viewer's attention to the weight the figure bears, while her downward gaze and bowed posture suggest a deeper internal struggle. Rodin was influenced by Michelangelo (1475-1564), and, like the Renaissance master, he imbued his figures with a sense of inner turmoil, using their physicality to express emotional states. The art historian Albert E. Elsen described Cariatide tombée portant sa pierre as: 'crucial in Rodin's development, for it was made when he began to move away from Michelangelo's influence as seen in Adam, Eve, and The Thinker. Rodin began to ask himself, 'Why not work directly from life?' The results contributed greatly to his reputation for originality, an explosive productivity in the early years of working on The Gates and an expansion of body language in sculpture' (A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2003, p. 232).The petit modèle of Cariatide tombée portant sa pierre, standing at 44 cm, reflects Rodin's meticulous attention to detail and his ability to translate grand, monumental ideas into smaller, intimate works. The fluidity of the figure's form encourages viewing from multiple angles, each revealing new aspects of the sculpture's shadowing and surface texture. In this model, Rodin juxtaposes smooth, modelled flesh with the rough, craggy surface of the stone, heightening the visual drama and tension.The provenance of this particular sculpture adds to its significance as a work of art. As with Anto Carte's stunning Maternité (see lot 111) it comes to auction for the first time from the esteemed collection of Walter A. May, a renowned Pittsburgh collector, whose discerning eye and passion for art led to the creation of a superb collection in the early 20th century. His name was a staple in the Carnegie Institute's publications and exhibitions of the time, having regularly loaned many works for exhibition when called on to do so.The work stands as a testament to Rodin's mastery, with variations of this model housed in some of the world's most prestigious institutions, including the Musée Rodin in Paris, the Metropolitan Museum of Art in New York, the Musées Royaux des Beaux-Arts in Brussels, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London. The presence of this sculpture in such distinguished collections underscores its enduring importance and influence in the history of modern sculpture.Cariatide tombée portant sa pierre, petit modèle is a rare jewel at auction, particularly with such concise and illustrious provenance. It is not only a superb example of Rodin's artistic genius but also a work with profound emotional and symbolic depth. Its rarity at auction, combined with its prestigious provenance, makes it a remarkable opportunity for collectors.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
Medallions, France. Ecclesiastical: Emmanuel-Théodose de La Tour d'Auvergne, Cardinal de Bouillon (1643-1715), cast bronze medal, Paris, 1700, obv. bas relief portrait bust of the prelate wearing a mitre, rev. with architectural doorway, 54mm; & Papal: Pius VII, cast bronze medal by Jean-Pierre Droz, Paris, 1805, commemorative of the Pope's visit to the French Mint, obv. portrait in profile, wearing the papal tiara, rev. with umbrella and Saint Peter's Crossed Keys of Heaven, 40mm, (2)
Charles III's funeral procession.- Ruelle (Claude de la), After. [Portrait du convoi fait en pompe funèbre à Nancy... au transport du corps de feu Sérénissime prince Charles III...], 31 loose plates only (of 48), each platemark approx. 150 x 430 mm (5 7/8 x 16 7/8 in), handling creases, nicks, tears and losses throughout, some surface dirt and browning, unframed, [c. 1611]; together with a miscellaneous group of approx. 50 prints, including, five Vues d'optique, many others of architectural interest, and others miscellaneous, all unframed, mainly 18th and 19th century (c.80)
Prints & Drawings.- Drury (Paul) and others. Collection of over 90 prints, many of architectural interest, including prints of 18th century buildings, Roman mosaics, and many etchings of pastoral subjects, cottages, and farms, and includes a later printing of a plate by Dury, various sizes, between approx. 70 x 70 mm (2 3/4 x 2 3/4 in) and 340 x 450 mm (13 1/4 x 17 3/4 in), all loose, in modern portfolio, [19th and 20th century] (90)
A PLASTER, LEAD, AND ETCHED BRASS ARCHITECTURAL MODEL OF HOUGHTON HALL, NORFOLK BY TIMOTHY RICHARDS, 2018 In original blue card fitted box Limited edition 281 of 300 24cm high, 37cm wide, 19cm deepProvenance: This limited edition run was commissioned by David, 7th Marquess of Cholomondeley, and is no. 281 of 300.Houghton Hall, Norfolk, designed by Colen Campbell, was built for Britain's first Prime Minister Sir Robert Walpole in 1722. (This lot is offered without reserve)Please note: the description of this lot has been partially updated to read 'Limited edition 281 of 300' and not as previously catalogued. Condition Report: Some surface dirt and rubbing to edges and extremities- one vane with glue repair- reverse with surface dirt. It comes with original blue card fitted box. The description of this lot has been partially updated to read 'Limited edition 281 of 300' and not as previously catalogued. Condition Report Disclaimer
A PAIR OF INDIAN CARVED PINK SANDSTONE ARCHITECTURAL ELEMENTS 19TH CENTURY Possibly sections from a larger entablature relief, and with parcel gilded surface each 23cm high (This lot is offered without reserve) Condition Report: loss to gilding and white paintsmall chips throughout Condition Report Disclaimer
A rare and extraordinary stucco Buddha figure which was part of a larger architectural structure, seated cross-legged on a rectangular plinth, his hair in a high bun, with arched eyebrows above gently down cast eyes, and aquiline nose over plump lips, the robe draped in an arch-shaped cowl around the neck and covering the shoulders, further stretched over the folded knees and gathered elegantly between the legs, both hands in dhyana mudra at the lap. The figure attached to its custom-made stand. Ex Sotheby's, USA 1991. With evidence of Sotheby's provenance. 43 x 28cm Good overall, age related wear.
Seven Carved Stone Reliquary Boxes, Gandhara, circa 5th Century, Germany Private Collection. Miniature reliquaries in the form of a stupa such as the example seen here, provide a clear architectural representation of the monumental stupas of the Gandharan region, find a identical pair of stone reliquary sold by Sotheby s Paris at 8 November 2022, no. 106. Similar examples can be found in, The Art of Gandhara in the Metropolitan Museum of Art, (New York, 2007), p.23. The largest H: 11.7cm
Building construction and architectural detail including manufacturer's catalogues. BAYLISS JONES & BAYLISS Ltd catalogue No.30, Iron and Steel; BROAD & CO Ltd , Brickmakers ... catalogue 1910; J ARTHUR YOUNG & CO Stable Fittings...., 1881; WALTERS (Sir J T) The Building of Twelve Thousand Houses, 1927, signed by the author; AYRTON & SILCOCK. Wrought Iron and its Decorative Use, 1929, 4to, slightly stained cloth covers; together 30 vol., together with 6 Ideal Home magazines circa 1930s
PUGIN (A Welby) The True Principles of Pointed or Christian Architecture, 1895, 4to, illustrated, cloth; Glossary of Ecclesiastical Ornament and Costume, 1846, 4to, coloured title and plates, some marginal staining, original cloth, rubbed; Pugin and Le Keux's Specimens of the Architectural Antiquities of Normandy, 1847, 4to, engraved plates, 2 with hand colour, cloth; rebacked; Fifteenth and Sixteenth Century Ornaments, in Four Parts. 1904, 4to, light spotting to first and last leaves, title and plate list with nibbled lower corner, cloth; Chancel Screens and Rood Lofts, 1851, repaired cloth; FERREY (B) Recollections of Pugin, 1861, 8vo, calf, rebacked; (6)
SALZMAN (L F) et al. The Victoria History of the County of Cambridgeshire and the Isle of Ely, vols. 1 to 9, with index, 1938-89, cloth, some in dust jackets; - Huntingdonshire, 4 vols. including index, 1926-36; Domesday Book Studies - Huntingdonshire, 3 vols., Alecto Editions 1989, slip case; WILLIS and CLARK. The Architectural History of the University of Cambridge, in 4 vols, 1886, including Plans, uncut, original cloth; Royal Commission on Historical Monuments, Huntingdonshire, 1926, stained cloth;
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