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Lot 82
Matte finished piece has a 3D quality to it. Detailed art creating an aged Indian Chief adorned with his leatherware, feathers, tomahawk and beaded necklace. Colored in natural tones of brown, black, white, green and red. Reverse has hole for wall mounting. Royal Crown sticker. Issued: 20th centuryDimensions: 6.5"L x 4"W x 6.25"HManufacturer: Royal Crown DerbyCountry of Origin: EnglandCondition: Age related wear.
Lot 55
Hand painted resin figure of an art deco dressed beauty in a purple dress in a performative stance. The sculpture attached to a wooden base. Amilcare Santini on the plaque and on the skirt. Santini golden stickers on the base. Artist: Amilcare SantiniIssued: 20th centuryDimensions: 18.5"L x 6"W x 17.5"HManufacturer: SantiniCountry of Origin: ItalyCondition: Age related wear. As is, as found. The tip of her skirt in her top hand is broken.
Lot 459
Art Deco platinum ring set with trapezoid cut diamonds weighing approximately 0.40 ct., two brilliant cut diamonds weighing approximately 0.60 ct. and square emerald weighing approximately 1,70 ct.emerald: probably from Colombia, inclusions Hallmark: platinum mark ‘dog's head’ size: 52.5 gross weight: 5.94 gr.
Lot 186
Vase art nouveau en porcelaine de Sèvres, vers 1911-12A Sèvres Art Nouveau vase, circa 1911-1912Hard-paste porcelain baluster-shaped vase with 'grand feu' California poppy flower decoration in brown, yellow, and green extending from the tapered base to the bulbous neck, the rims at the foot and neck edged with gilt, 18.6 cm (7.3 in.) high; 9 cm (3.5 in.) diam., the bottom stamped 'RF Manufacture Nationale Décoré à Sèvres 1912', 'S 1911,'in under-glaze green with artist monogram HL and other incised marksFootnotes:ProvenancePrivate collection, the NetherlandsHenri Joseph Lasserre (1870-1932) worked as a decorator at the Sèvres manufactory from 1883-1930.For further information on this lot please visit Bonhams.com
Lot 163
Assiette militaire en porcelaineA Porcelain Military PlateBy the Imperial Porcelain Factory, St Petersburg, period of Nicholas 1, 1841Circular, the centre painted with officers of the 5th Infantry Corps and 5th Light Cavalry, within a gilt cavetto and green border with gilt ciselé Imperial eagles and military trophies, inscribed in Russian '5th Infantry Corps. 5th Light Cavalry: Division A Private of the Bugsky Uhlan regiment. Staff Officer of the Odessa Uhlan regiment Private of the Akhtirsky Hussar regiment. Chief Officer of the Aleksandysky Hussar regiment.', and marked, dated and signed 'P. Soloviev' in Cyrillic under base diameter: 24.3 cm (9 9/16 in).Footnotes:ProvenanceAcquired by the present owner at Christie's London, Russian Art, 2 December, 2009, lot 341This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 302
Attribué à Jacopo Amigoni (Venise 1682-1752 Madrid)Rébecca et Eliézer au puits numéro d'inventaire de collection '79' (en bas à droite)huile sur toile d'originebears inventory number '79' (lower right)oil on canvas, unlined82.7 x 65.3cm (32 9/16 x 25 11/16in).Footnotes:ProvenancePrivate Collection, MadridThe present lot repeats the composition of the same subject formerly in the Collection of J. H. Weitzer (1954) and Walter P. Chrysler (1971) and later offered at Sotheby's, New York, on 28 January 1999, lot 325.The prime version was most probably the work commission shortly after 1739 by Sigmund Streit (1687-1775) who sent it to Berlin where it was housed in the Graues Kloster before being destroyed during the Second World War (see P. Rohrlach, 'La collezione di quadri Streit nel Graues Kloster a Berlino', in Arte Veneta, 1951, pp. 198-201).At least two further versions of this composition are known: one sold at Christie's, London, December 18, 1980, lot 110 as by Amigoni and another workshop copy is now the Fogg Art Museum, Cambridge (1918.42).For further information on this lot please visit Bonhams.com
Lot 171
Aimé-Jules Dalou (1838-1902)Figure en bronze représentant la Baigneuse s'essuyant le pied droit ou SuzanneReposant sur une base entièrement moulée de style naturaliste; signé DALOUA bronze figure of the Bather wiping her right foot or Suzanne, Aimé-Jules Dalou (1838-1902)Resting on a fully cast naturalistic style base; signed DALOU, with the founder's stamp CIRE/PERDUE/AA HEBRARD and numbered (C. 9), 22cm wide, 36cm high (8 1/2in wide, 14in high) Footnotes:ProvenancePrivate Collection, SwitzerlandThe son of a glove-maker, Dalou (1838-1902) initially trained in drawing at the Petite École de Paris. In 1854, he entered the École des Beaux-Arts, where he trained for four years and took up sculpture. He was known for his left-wing political sympathies and took part in the creation of the Paris Commune in 1871. Gustave Courbet, director of the Fédération des Artistes de la Commune de Paris, appoints Dalou deputy administrator to Barbey de Jouy, director of the Musée du Louvre. His mission was to protect the collections from vandalism. Labeled a Communard, Dalou went into exile with his family in London from 1871 until his return to Paris in 1879.In London, he exhibited at few Salons, notably at the Royal Academy, and taught at the National Art Training School in South Kensington (later the Royal College of Art), where he had a profound influence on the development of British sculpture. Dalou is celebrated as a renowned portraitist, much appreciated for his genre figures: maternities, bathers, women at prayer, children at play...Comparative LiteratureA. Simier, Jules Dalou, le sculpteur de la République, cat. exp., Paris, Petit Palais, 18 avril-13 juillet 2013, n° 313, pp. 384-385.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 94
Superbe gobelet à pied gravé à la manière de Gottfried Spiller, Potsdam, vers 1720-30An exceptional Potsdam engraved goblet in the manner of Gottfried Spiller, circa 1720-30The generous round funnel bowl decorated with a continuous landscape depicting a Bacchanalian procession, Bacchus crowned with fruiting vines and holding a thyrsus, seated beside his female companion, perhaps Venus, both in an elaborate shell-shaped chariot pulled by two large cat-like creatures and pushed by a Bacchante, a putto astride one of the cats, a satyr carrying a nymph in his arms between them, all before two musicians playing a drum and cymbals respectively, a large gnarled tree ahead of them, the rim with a distinctive ashlar border of rectangular hobnails, on an elaborate beaded inverted baluster stem cut with flutes, between shoulder and basal knops, the base of the bowl and the conical foot deeply cut with overlapping petal-like facets, 27.2cm highFootnotes:ProvenanceWith Uwe Friedleben Kunsthandel, 1 November 1984Christian von Reitzenstein CollectionThe Triumphal Procession of Bacchus was an extremely popular subject in Baroque art, including on glass. With its particularly fine and lively cutting, this goblet can probably be attributed to the workshop of Gottfried Spiller, which was active in Berlin until 1728. A goblet of very similar form engraved with a Bacchanalian procession is illustrated by Robert Schmidt, Brandenburgische Gläser, 1914, table 30, no.1. A goblet of slightly different form engraved with a Bacchanalian procession in a remarkably similar style, also attributed to the circle of Gottfried Spiller, is in the Stiftung Stadtmuseum Berlin (inv. no.SM 2013-7642). A Zechlin armorial goblet of identical shape with borders cut in an identical way is illustrated by Rainer Rückert, Die Glasammlung des Bayerischen Nationalmuseums München, Vol.2, 1982, pp.280-1, pl.XXVII, no.821.For further information on this lot please visit Bonhams.com
Lot 407
Plateau Italien en marbres divers, comprenant Brocatella di Spagna, Giallo de Siene, Rosso Antico, Breccia, Alabastro fiorito, Jaspe et Lapis Lazuli, travail Romain du XIXe siècle dans le goût du début du XVIIeAn Italian Spanish Brocatella, Giallo di Siena, Rosso Antico, Alabastro fiorito, jasper and lapis lazuli specimen marble top, Rome, 19th centuryOf rectangular form with moulded rosso border, the central field with an oval alabastro fiorito reserve with with jewelled-shaped surround, within a cartouche border with geometric and flowering foliate sprays against a black marble ground, 138cm wide, 94.5cm deep, 5.5cm high (54in wide, 37in deep, 2in high) Footnotes:This attractive specimen marble top is directly inspired from the early Roman specimen marble tops of the late 16th-early 17th century, characterised by a large oval reserve often in heavily patterned alabastro, surrounded by a strapwork cartouche and by geometric coloured border. The delicate blend of geometrical and abstract motifs noticeable on our top derives from designs dated from circa 1565 by celebrated craftsmen as the Italian Giovanni Antonio Dosio. A related specimen marble top formerly in the Villa Medici in Rome, executed most likely from designs by the architect Giovanni Antonio Dosio, and made in Rome in the third quarter of the 16th century is now conserved in the Galleria Palatina in Florence. See Annamaria Giusti, Pietre Dure and the Art of the Florentine Inlay, London, 2006, p.43, ill. n.30. Specimen marble tops or commesso work as known in Italian, showcase the triumph of Rome from the early 16th century as a centre for pietre dure. Mainly due to the passion for precious marbles and rare stones, and following the archaeological discoveries, the art of inlaying on marbles brought a connection with Antiquity and to the splendour of the Eternal city. Richly figured alabastro and other contrasting precious marbles appear in table tops by Jacopo Vignola (1507-73), who is now thought to have provided the designs for the celebrated table supplied to Alessandro Farnese circa 1565, now in the Metropolitan Museum, New York. At the time of their manufacture they attracted some of Rome's greatest patrons such as Cardinal Giovanni Ricci of Montepulciano and Cosimo I Medici, whose fascination for the art of inlaying marbles led to the foundation of the celebrated Medici workshop by his son Ferdinando.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 105
Beau gobelet d'amitié à couvercle en verre gravé et doré, Lauenstein, milieu du XVIIIe siècleA fine Lauenstein gilded and engraved 'Friendship' goblet and cover, mid-18th centuryThe round funnel bowl with a solid beaded base, decorated with the Biblical Kings David and Jonathan shaking hands with one another, both wearing classical Roman attire, reserved with an elaborate rococo scroll cartouche containing, inscribed with an ode to friendship above and another to the reverse, the base of the bowl cut facets and fine flutes, the stem with a teared shoulder knop above a teared baluster cut with all-over facets extending into the high folded domed foot, the domed cover with a band of facets and a tall teared and faceted finial, the rims of the cover and bowl gilt, 30.3cm high (2)Footnotes:ProvenanceWith Uwe Friedleben Kunsthandel, 2 November 1983Christian von Reitzenstein CollectionThe inscription above the cartouche reads...'Hier komt ein Treuer Freund, von arth wie Jonathan/ wilt du sein David sein, so nim den Deckel an' (Here comes a loyal friend, from art like Jonathan, if you want to be his David, take the cover)And to the reverse...'so sey der Freundschaffts Bund/ mit diesen trunck geschlossen/ Es leben Sie und ich/ nebst allen Bunds Genossen' (So the bond of friendship is closed with this drink. Long live you and I together with all our bonds)For other Lauenstein goblets engraved with David and Jonathan inscribed with similar odes to friendship, see Alheidis von Rohr, Lauensteiner Glas, 1991, p.84, nos.52.1-3.For further information on this lot please visit Bonhams.com
Lot 157
Pot à sucre couvert et crémier en argent niellé et vermeil 84 zolotniks (875 millièmes)A Russian Gilded Silver and Niello Covered Sugar Bowl and Creamer 84 zolotniksmakers mark in Cyrillic 'MC' for Mikhail Sokolov, Moscow, circa 1890The bodies decorated with foliate scrolls, the circular reserves on the side of each vessel engraved with images of the Moscow Kremlin Cathedrals, the Iverskaya Gates and St. Basil's Cathedral, the sugar bowl with slip-on cover, 84 standard Sugar Bowl height 13cm (5 1/8' in.), weight 595gr.; Creamer high 9.8cm (3 7/8' in.), weigth 205gr. (2)Footnotes:ProvenanceAcquired by the present owner at Sotheby's New York, Russian Art, 21 April 2010, lot 236This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.comSale Room NoticePlease note that the indicated weight is grossVeuillez noter que le poids du lot est à considerer brut
Lot 182
Vase art déco en porcelaine de Sèvres, 1922A Sèvres Art Deco vase, dated 1922The inside rim and shoulder with a band of orange spiral shapes, shells, and stylised flowers on a blue ground, 18 cm high, the bottom stamped 'RF Manufacture Nationale Décoré à Sèvres 1922', 'S 1922 DA,' and J in under-glaze green with artist signature 'CP. d'ap. AM. Fontaine'Footnotes:Anne-Marie Fontaine (1900-1938) was a painter and ceramicist active at Sèvres from 1928-1936 known for her adoption of Art Deco motifs, primarily from textiles. ProvenancePrivate Collection, FranceExhibited-Exposition internationale des Arts décoratifs et IndustrielsModernes de Paris de 1925, Paris, 1925- Musée Richard Anacréon, Granville, Femmes créatrices des années vingt, Granville, 18 June 1988 - 16 October 1988.- Tokyo Metropolitan Teien Art Museum, Sèvres, Élégance du 20ème siècle, L'Exposition des Porcelaines de Sèvres du style Art Déco, 02 November 1993 - 19 December 1993, cat. 53. A model dated 1921 is in the collections of the Musée National de Sèvres (inv. MNC 17007) on deposit at the MAD Paris since 1925 (inv. SEVRES 115.2), another in that of the Fine Art Museum of San Francisco, inv. Z 1982.24.Literature- Femmes créatrices des années vingt, Musée RichardAnacréon, Granville, 1988.- Brunhammer, Yvonne. Sèvres, Élégance du 20ème siècle, L'Exposition des Porcelaines de Sèvres du style Art Déco, Tokyo Metropolitan Teien ArtMuseum, 1993, cat. 53.For further information on this lot please visit Bonhams.com
Lot 218
Joos de Momper (Anvers, 1564-1635) et Jan Brueghel Le Vieux (Bruxelles 1568-1635 Anvers)Grotte avec service religieux et vue panoramique huile sur panneau, le revers marqué avec le chatêau et les mains d'Anvers et marque du fabricant du panneau Guilliam Aertssenoil on panel, the reverse stamped with the castle and hands of Antwerp55.5 x 97.5cm (21 7/8 x 38 3/8in).Footnotes:ProvenanceCollection of Thomas Green, LadbrookHis sale, Christies 1819 (bt. Cubitt)With Cubitt, from whom acquired byCollection of W. T. Hartcup (1848-1911) and by descent until offeredHis sale, Phillips, London, 13 May 1986, lot 47 (as Property of a Gentleman)With De Jonckheere, Paris, where purchased by the present owner in 1990Private Collection, SpainLiteratureK. Ertz, Josse de Momper der Jungere (1564-1635), Freren, 1986, p. 594, no. 475, ill.This collaboration between Joos de Momper and Jan Brueghel the Elder showcases their combined mastery of landscape and figure painting. The present work shows a fantastical rocky cave, with foliage and lighting that evokes a sacred atmosphere. De Momper's skill in rendering dramatic, rugged landscapes is perfectly complemented by Brueghel's delicate figures, which add a human element to the otherwise sublime setting.We are grateful to the RKD Marks on Art for identifying the panel makers mark of Guilliam Aertssen and for dating it to after 1618. The Antwerp brand dates to 1617-1626.For further information on this lot please visit Bonhams.com
Lot 164
Groupe équestre en bronze représentant le duc Ferdinand Philippe d'Orléans Antoine-Louis Barye (1795 – 1875) Chef modèle, vers 1844-45 A bronze equestrian group representing the Duke Ferdinand-Philippe d'Orléans (1810-1842)Antoine-Louis Barye (1795 - 1875) Head model, circa 1844-45 Keyed model Resting on a rectangular bronze base, signed BARYE; and engraved with the number N°683 on the reverse of the base; with a paper label 20 ? and a blue painted number 20817 ?; on a green marble base (one screw missing from the neck). H.36 x l.32 x L.12 cm. (sans la base en marbre)Footnotes:LiteratureM. Poletti & A. Richarme, Barye: Catalogue Raisonnée des Sculptures, Paris, 2000, p. 65, no. F 3.ProvenanceVente Barye 1876, n° 683 (acquis par Goupil pour être édité par F. Barbedienne).Exposition Barye, 1889, n° 35.Barbedienne Collection. Vente collection Jacques Zoubaloff, 16-17 juin 1927, Galerie Georges Petit, maître F. Lair Dubreuil, lot 182.Private Collection, France.Our bronze has been preserved by a French amateur and collector since the 1920s-30s. This equestrian model is of major importance in Barye's work, as it is the master model and, ultimately, the only one produced during the artist's lifetime. It was exhibited at the École des Beaux-Arts in Paris as part of the tribute to Barye in 1875 (no. 152), and was included in his after-death sale in 1876 (no. 683). Purchased 400 francs by Goupil for publication by F. Barbedienne. In 1889, a Barye retrospective was held at the Exposition Universelle, where the public could also admire it (no. 35).Our bronze is listed in Barye's catalog raisonné as 'current location unknown' (loc. cit). Its reappearance on the art market is a major event for collectors, institutions and experts. Ferdinand-Philippe d'Orléans (1810-1842), aesthete and liberal prince, eldest son of King Louis-Philippe, died at the age of 33 in a carriage accident in Neuilly on July 13, 1842. The young Duc d'Orléans was one of Barye's greatest admirers and patrons. His main commission was the spectacular surtout de table, featuring five hunting combats and four animal combats. This commission established Barye as the Romantic sculptor of his generation. Our bronze depicting the Duke in majestic form, seated on a powerful horse, is a posthumous tribute by the sculptor to his patron and forms a counterpart to Le Général Bonaparte. Queen Amélie owned a model, which she placed opposite her desk in the Tuileries Palace, circa 1845-1848. The price of the two sculptures varied according to the regime: under the July monarchy, Le Duc d'Orléans was twice as expensive as Le Général Bonaparte, proof of the sculptor's preference for the royal family? During the Second Empire, Barye offered both statues at the same price.For further information on this lot please visit Bonhams.com
Lot 194
Vase couvert pâte-sur-pâte en porcelaine de Meissen, vers 1890-1900A Meissen covered pâte-sur-pâte vase, circa 1890-1900Decorated with a water nymph surrounded by waterlilies, the reverse with four stylised fishes in copper red, the rim with dragonflies in underglaze-blue and turquoise, picked out in gilding, the domed cover with starburst gilding around the finial, 23cm high, crossed swords in underglaze-blue to the base, incised H127, impressed 20Footnotes:Meissen's attempts at pâte-sur-pâte during the last decade of the 19th century were spurred by the 1900 Paris Exposition Universelle and the burgeoning Art Nouveau movement in the decorative arts. Some 1,329 items were produced for the exhibition, of which sixty with pâte-sur-pâte decoration. The Meissen presentation was a success, garnering critical acclaim and a Grand Prix award, with particular praise reserved for the high-fired coloured pâte-sur-pâte pieces. Notably, the Musée national de céramique (Sèvres) and Museum für Kunst und Gewerbe (Hamburg) acquired Art Nouveau vases for their collections.For more information on Meissen pâte-sur-pâte, see Bernard Bumpus, Pâte-sur-pâte: the Art of Ceramic Relief Decoration 1849-1992, 1992, pp. 86-88.For further information on this lot please visit Bonhams.com
Lot 96
Gobelet armorié en verre gravé de Brandenburg, attribué à Johann Heinrich Balthasar Sang, Braunschweig, milieu du XVIIIe siècleA Brandenburg engraved armorial goblet attributed to Johann Heinrich Balthasar Sang, Braunschweig, mid-18th centuryThe round funnel bowl with the crowned arms of the Counts and Barons of Bothmer within a formal cartouche, flanked by wolf supporters, on a scrollwork bracket, the rim with a border of polished circlets, on a beaded baluster stem cut with diamond facets, between faceted shoulder and basal knops, the base of the bowl and spreading foot cut with petal facets edged with fine circlets, 18.6cm high (very slight crizzling, tiny chip to footrim)Footnotes:ProvenanceWith Uwe Friedleben Kunsthandel, 2 January 1982Christian von Reitzenstein CollectionJohann Heinrich Balthasar Sang was born in Weimar on 23 October 1723 and came from a well-known Thuringian family of glasscutters. He was the son and pupil of the renowned Weimar glassmaker Andreas Friedrich Sang, from whom he learnt the art of glass cutting in Ilmenau. In 1747 he was appointed as the 'Court glass grinder' by Duke Carl von Braunschweig and continued to cut glass in Braunschweig until at least 1764, which he almost certainly sourced from the Schorborner Hütte. A goblet attributed to Sang with a number of stylistic similarities to the present lot is illustrated by Robert Schmidt, Das Glas, 1912, p.349, fig.202.For further information on this lot please visit Bonhams.com
Lot 159
Boite à cigares en argent ciselé en trompe l'oeil, 875 millièmes, l'intérieur en vermeil A Silver and Parcel-Gilt Trompe L'Oeil Cigar Boxmaker's mark in Cyrillic 'MI', St. Petersburg, 1896-1908Rectangular, the hinged cover and sides chased and engraved to simulate wood grain, tax bands and a manufacturer's label reading 'Habana Flor', the interior gilt, marked inside cover and base length: 13 cm (5 1/8 in.); weight: 530 gmsFootnotes:ProvenanceAcquired by the present owner at Christie's New York, Russian Art, 23 April, 2010, lot 155This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 158
Boite à cigare en argent ciselé en trompe l'oeil 84 zolotniks (875 millièmes)A Silver Trompe L'Oeil Cigar Boxmaker's mark in Cyrillic 'PA' for Peter Abrosimov, Moscow, 1883Rectangular, the hinged cover and sides chased and engraved to simulate wood grain and tax bands, the interior gilt, the inside cover engraved with Cyrillic crowned monogram 'GK', marked inside cover and base, 84 standard length: 12.4 cm (4 7/8 in.); weight: 285gmsFootnotes:ProvenanceAcquired by the present owner at Christie's New York, Russian Art, 23 April, 2010, lot 156This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 154
Coupe polylobée en vermeil à décor émaillé. 84 zolotniks (875 millièmes)A Silver-Gilt and Cloisonné Enamel Bowlmakers mark for 'Khlebnikov' with the Imperial warrant, Moscow, 1896-1908Of shaped circular form, on four ball feet, the body enamelled with panels of shaded varicoloured flowerheads and foliate scrolls on a gilt-stippled ground, the centre with conforming decoration, the rim with twisted ropework border, marked under base, 84 standard diameter: 10.5 cm (4 1/8 in.); weight: 220gmsFootnotes:ProvenanceAcquired by the present owner at Christie's New York, Russian Art, 23 April, 2010, lot 135This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.comSale Room NoticePlease note that the indicated weight is grossVeuillez noter que le poids du lot est à considerer brut
Lot 393
Paire de grands groupes en bronze doré et bronze patiné de Graux Marly sur un dessin de Charles-Hippolyte Buhot, représentant des porteuses d'eau, seconde moitié du XIXe siècleA pair of gilt and patinated bronze large groups of water carriers by Graux Marly Foundry, based on a design by Louis-Charles-Hippolyte Buhot, second half of the 19th CenturyThe standing figures, with jewelled necklace, draped dress and headdress, carrying on their shoulder a twin-handled Egyptian style vase with engraved decoration, on a wicker pattern circular base, each base signed and inscribed 'GRAUX MARLY FT DE BRONZES A PARIS' and 'CH BUHOT SCULP', 29cm wide, 136cm high (11in wide, 53 1/2in high) Footnotes:ProvenancePrivate Italian noble collection. Louis-Charles-Hippolyte Buhot (1815-1865) was born in Paris and studied under the French sculptor and medalist David d'Angers. Buhot entered the Ecole des Beaux Arts at the age of seventeen, and soon exhibited regularly at the Paris Salon from 1837 until the year he died in 1865, and produced numerous portrait medallions, busts and statuettes, including, Sara the Bather (1851), Hope feeding the Chimera (1855) and Jupiter and Hebe (1865).Jules Graux-Marly operated a small foundry known as Graux-Marly Frères. Based at 8, rue du Parc-Royal in Paris, the foundry was well-respected for producing high quality figurative sculptures and decorative ornaments. It won a bronze medal at the Exposition Universelle in 1849 and a first-class medal for the bronzes d'art et d'ameublement in 1855. The activity of the foundry was later continued by his sons.Orientalism was a long standing subject of fascination for Westerners, with depictions of exoticism from far away places and cultures. Opposed to the neo-classicism movement, orientalism was popularized in 19th century sculpture by interpretations of exotic figural scenes, tropical birds and animals and lavishly dressed exotic figures. There was a real interest in ethnography, in the unknown. The production of these 19th century pieces showed the latest manufacturing technical advances, resulting in the highest possible quality wares. An identical single sculpture was sold Christie's King Street, 19th Century Furniture, Sculpture and Works of Art sale, 19 March 2008, lot 183, for £42,500 (incl. premium). While a pair of related candelabra torchères of monumental proportions, attributed to the same Parisian foundry Graux-Marly, depicting a couple of exotic draped and jewelled hunters holding on their shoulders children carrying aloft the crystal or ormolu palm-tree shaped bouquet, sold Christie's, 22 November 2022, 'The Exceptional sale', lot 34, €113,400 (incl. premium). A second similar pair of 24-light candelabra-torchères was acquired at the Paris Exposition Universelle in 1855 by the Emperor Napoleon III, and later entered the collections of the château de Compiègne on 18th November, 1858 (inventory number C16525 (inv. of 1855), C470c (inv. of 1894)).This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 113
Miniature sur ivoire figurant une femme vers 1780-1785, dans un médaillon ouvrant en or et demi-perles, fin XVIIIe-début XIXeA late 18th century-early 19th century gold mounted portrait boxMiniature on ivory depicting a bust of a woman wearing a white and blue dress, leaning on books, signed TL, circa 1780-1785, in a round yellow gold medallion set with half-pearls, the enamelled background monogrammed MBHGR, with a gold opening case. Bearing a label 'art treasures exhibition 1928, n°1193', height 9cm, weight 147gms.Footnotes:This lot is accompanied by a CIC.This lot is subject to CITES regulations. It is the buyer's responsibility to investigate such regulations and to obtain any necessary import or export certificates for export outside the European Union. Please contact the department for further details.Ce lot est soumis aux restrictions de la CITES. En cas d'exportation hors de l'Union Européenne, des formalités devront être réalisées et seront sous la responsabilité de l'acheteur. Veuillez contacter le département pour plus de détails.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.comSale Room NoticePlease note that the indicated weight is grossVeuillez noter que le poids du lot est à considerer brut
Lot 364
A FRANCO-ITALIAN GILT BRONZE QUILLON 16TH CENTURY The dagger guard with central mask within scrolling figural ends, now mounted on modern ebonised wood stand 3cm high, 9cm wide Provenance: Collection of Edwin L. Weisl JR, until sold in 2006. Edwin Weisl was appointed as Assistant Attorney General on March 24, 1965 by President Johnson. After serving as AAG of the Lands Division for two years, Weisl was appointed AAG of the Civil Division by President Johnson in 1967. In 1969, Weisl left the Justice Department and returned to Simpson, Thacher, & Bartlett as a partner. In 1973, he was named the Administrator of Parks, Recreation, and Cultural Affairs of New York City. He had a passion for the study of Late Medieval and Early Renaissance Italian painting. Weisl served as chairman of the Robert Lehman Foundation, which supports the visual arts and works closely with the Metropolitan Museum of Art in New York City. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Mount separates easily allowing removal- natural wear from age and internal mounting flaws Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 104
GIOVANNI DELLA ROBBIA AND WORKSHOP- A POLYCHROME TERRACOTTA ROUNDEL 16TH CENTURY Decorated with a garland of fruits and flowers 74cm diameter Literature: R. Dionigi (ed.), Stemmi robbiani in Italia e nel mondo. Per un catalogo araldico, storico e artistico, Florence 2014, p. 120 n. 45. For a very similar but smaller example of a polychrome glazed terracotta frame, please see Pandolfini Florence, Sculptures And Works Of Art From Middle Age To 19th Century, 12th June 2024, lot 24. An example of a tin glazed Tondo from this workshop and from this period is held as part of the Robert Lehman Collection in the Met Museum (Accession Number: 1975.1.2039). Lehman Della Robbia Tondo link This lot is accompanied with a thermoluminescence test report from 2016, by Ciram 0616-OA-158R-2. Condition Report: thermo test 2016- add into c/r when uploadedCondition Report Disclaimer
Lot 307
JACQUES NICOLAS BRUNOT (1763-1826) A BRONZE MODEL OF A TROTTING HORSE EARLY 19TH CENTURY "Etalon", signed to cast base edge 'Brunot Fecit' 38cm high, base 34.8 by 13cm Provenance: The Earl of Belmore, Castle Coole, Northern Ireland. Exhibited: Possibly the Salon, Musée Napoléon, Paris, opened on 14th October 1808. Born in 1763 in Clichy-la-Garenne, little is known of Brunot's early training. He made his debut at The Salon in 1808 with a trotting horse which has been identified as possibly being this example (No. 646). Brunot, like his contemporary Stubbs, worked directly from nature studying and modelling equestrian anatomy directly from life notably at the veterinary college at Alfort. This careful detailing is exemplified in this example, the articulated veins on the horse's head, the flared nostrils and the subtly delineated muscles. The treatment of the surface also differentiates the change between textures such as the untrimmed mane crowning the elegant curve of the neck and the smooth flesh below. In 1817 he exhibited three dissection casts at the Paris Salon; "A Horse's Head Dissected", "A Horse's Legs Dissected" and "Écorché du cheval dans l'allure du trot" (No. 1056), for which he drew on the inspiration of the pose and proportions of the Cavallo Mattei. Today he is perhaps best known not only for his anatomy models and writings on the subject but also for his equestrian statue of Henri IV after Giambologna with two versions from 1814 and 1817 held in the Angers Museum of Fine Arts and the National Museum of the Château de Pau respectively. An article in the August 28th 2024 edition of Country Life (114) titled "Take Five: Horses That Made It Into Art" celebrates his depiction of the Duke of Angoulême's La Truffe. The thoroughbred was bought in England and brought back to France after the restoration of the Monarchy. Brunot was commissioned to sculpt the horse, widely regarded as one of the most beautiful horses in France, and the work was finished in 1824, the year in which the Duke became Dauphin of France after his father, Charles X, ascended to the throne. The head in plaster is now held in Alfort. Condition Report: There are some areas of general wear to the patina, including some nicks and scratches. There are a few plugs and several original joints consistent with the casting technique and with visible casting joints as per construction, rubbing to patina of more raised areas of surface such as around head, back, limb joints and the base. One bolt to base tightened or possibly replaced. Provenance: The Earl of Belmore, Castle Coole, Northern Ireland. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 255
A RARE ROMAN MARBLE HEAD OF A BOY AS EROS CIRCA 1ST/2ND CENTURY A.D., ON A 16TH CENTURY BUST AND SOCLE The head set on Renaissance shoulders, further turned socle below 60cm high overall, 35cm wide across the shoulders Provenance; Private collection, France. Literature; C. Giroire & D. Roger, Roman Art from the Louvre, exh. cat., Musée du Louvre, Paris, 2007. V. Dasen, 'Wax and Plaster Memories: Children in Elite and non-Elite Strategies', in V. Dasen and T. Spath (eds.), Children, Memory, and Family Identity in Roman Culture, Oxford, 2010, pp. 109-145. J. Huskinson, 'Constructing Childhood on Roman Funerary Memorials', Hesperia Supplements, vol. 41, (2007), pp. 323-338. Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48. Epitomising youthful charm, this work shows the thoughtful expression typical of classical portrait busts. His soft face is characterised by supple cheeks, full lips, almond-shaped eyes, and dimpled chin. The boy's hair is styled in the guise of Cupid, the Roman God of affection and desire; a large central braid which runs from the forehead to the crown of his head parts gently tousled thick waves of hair. Though this distinctive hairstyle can be traced back to depictions of Eros from Hellenistic Greece, it was adopted by the Romans in the following centuries as a defining characteristic of the deity Cupid. Whilst the bust's large central braid leads to an identification with Cupid, the slightly imperfect, asymmetric facial physiognomy suggests that the work was sculpted as a private commemorative portrait. A particularly popular practice in the second century A.D. saw the sculpting of portrait busts with personalised features styled into an overall type of mythical figure, and examples can be found in both the case of adults and children. Comparison can be drawn both with a circa 2nd century A.D. marble Roman Child (previously in the Hermitage Museum, St. Petersburg) and circa 2nd century A.D. marble Head of a Boy or Harpocrates (previously in the Collection of Etienne Duval (1824-1914), Geneva)- both illustrated in Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48 viewable online in Russian and English WALDHAUER CHAPTER THREE Further images for the Duval head are viewable online here HERE (1) HERE (2) and HERE (3) the last being a reproduction of the portrait of Etienne Duval by Henry van Muyden (1860 - 1936),with the winged head conspicuous in the background. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. In a generally good state of preservation, with sensitive old and more recent restoration and infill to the nose, cheeks around the nose, lips and around the joint at the head/neck join. The bust and the 'tableta' beneath the chest are all one piece of marble and are mounted on a separate tall cylindrical socle which has a simple moulded detail at the top and bottom. The marble head is very well preserved considering its age and retains a great amount of the clarity and complexity of the carving, especially in the very detailed carving of the hair. There are some small chips and wear to the surface of the marble throughout, as would be expected of a sculpture of this age, and the lock of hair on the forehead is worn, a lock near his left ear is missing and the rear end knot of the central hair braid is absent. There are some small old chips to the marble to the eyelid, left cheek, tip of the nose, lips and the buckle/brooch on his shoulder. Provenance: This was purchased in a French auction within the last 5 years and we have a French Passport which we will forward to the purchaser after the sale. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 317
ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014)Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty.This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief.Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision.This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition.Condition Report Disclaimer
Lot 276
WILLIAM ETTY (ENGLISH 1787-1849) VENUS DISARMING CUPID Oil on panel 53.8 x 42cm (21 x 16½ in.) Provenance: James Gresham Esq., Woodheys Park, Cheshire, England His sale, Gooden and Fox, 1917, lot 56 Viscount Leverhulme His sale, Anderson Galleries Auction, 12th February, 1926, lot 76 Robert C. Vose Frost and Reed, London, No. 56252S Exhibited: York, Corporation Art Gallery, Exhibition of Pictured by the Late William Etty, 1910 Detroit, Detroit Institute of Art Condition Report: Light craquelure throughout, some of which ahs been infilled, and this is visible in a natural light. Inspection under UV reveals light scattered retouching and infilling throughout, together with a green clouded varnish. Condition Report Disclaimer
Lot 357
ATTRIBUTED TO PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.)SALEROOM NOTICE: Please note the cataloguing has changed Provenance: Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Literature: Advertisement supplement, The Burlington Magazine, vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre).Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) Julien-Leopold Boilly, Terpsichore and Erato, drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 46372) Julien-Leopold Boilly, Apollo and the Muses, lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer
Lot 397
AFTER ANTONIO CANOVA (1757-1822) A WHITE MARBLE FIGURE OF THE VENUS ITALICA ITALIAN, CIRCA 1820 approximately 100.5cm high, base 28cm wide In 1802, Antonio Canova was asked if he would fashion a copy of the Medici Venus which Napoleon had removed from Florence to the Musée Napoléon in Paris. Although he agreed to make a copy, the sculpture that he eventually completed in 1811 was quite different from the Medici Venus. It shows a more modest figure, who largely covers her nakedness with a large swag of drapery and lacks the dolphin and the figure of Cupid that accompany the Medici Venus. Canova produced various versions of this figure: the original now in the Palatine Gallery of The Pitti Palace (Uffizi Venus Italica ), another in the Residenzmuseum in Munich, and the third in Hearst Castle, San Simeon, California, (formerly in the Lansdowne Collection). A fourth version was sold from the Londonderry collection in 1962 and is today in the Metropolitan Museum of Art, New York (Met Museum Venus Italica ). In 1820 he also completed a version for Thomas Hope (1769-1831). This version, which Canova in fact liked best of all those he had made, was rather closer in appearance than the others to the Venus de'Medici. It is now in Leeds City Art Galleries (Leeds Hope Venus ) Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some natural small veining and inclusions- several surface pockmarks, small dirt and paint splashes- some surface dirt, small chips around base edges Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer
Lot 16
AN ENGLISH EMBROIDERED WOOL AND RAISED WORK FRAMED MIRROR 17TH CENTURY The rectangular plate in a surround with diaper pattern and rosettes, the reverse with paper inventory label for Tring Park and cypher 59.5 x 51cmProvenance: Tring Park, Herts, possibly acquired by Lionel Nathan de Rothschild (d,1879) or his son Nathaniel Mayer Rothschild (d.1915).Tring Park was given by Charles II after his Restoration in 1660 to Sir Henry Guy who became Secretary to the Treasury and built a new manor house to designs by Sir Christopher Wren. The estate was sold to Sir William Gore in 1705 and then passed by descent and sale. Lionel Nathan de Rothschild began renting the property as a summer home after 1838 and ultimately bought the house in 1872, making significant alterations to designs by George Devey. Lionel's son Nathaniel Mayer Rothschild took up residence with his young family, a belated wedding gift from his father, and though Nathaniel spent much of his time in London, his family remained largely at Tring which also housed Nathaniel's large collection of art and objet's d'art. Nathaniel's son Walter occupied the house with his mother after 1915 and the estate was eventually broken up and sold piecemeal in 1938. Condition Report: Generally good and structurally secure with the inevitable wear and tear consistent with age and use. The colours of the wool (and silk?) are heavily faded through light exposure, but there are traces of bright yellows, blues and purples. There is wear also, notably to the wrapped strapwork, revealing the card base (around which the wool is wrapped). The mirror is foxed with losses to the silver (as evident in the illustration), it is probably an old but replaced plate. The reverse is lined with crimson silk which is badly worn and there are two sets of old hanging holes. Note the overall dimensions are 59.5cm high x 51cm wide. Condition Report Disclaimer
Lot 47
AFTER JOSEPH NOLLEKENS- A BRONZE PORTRAIT BUST OF WILLIAM PITT THE YOUNGER (1759-1806) POSSIBLY A PIMLICO OR WOOLWICH FOUNDRY, EARLY 19TH CENTURY Socle base 75.5cm high overall, base 22cm diameter Between 1805 and 1815 Nollekens executed a large series of busts of British 'Worthies'- politicians, royalty and friends of George IV. After Pitt's death in 1806 he was commissioned to take a death mask which he used as a model to make marble busts of the ex-Prime Minister. By 1808 he could boast that he had taken orders for 52 examples of the bust. According to his biographer J. T. Smith, he went on to sell 74 examples in marble and 600 plaster casts. The bronze founder for this work is, as yet, unidentified although it has been suggested it may be by Benjamin Vulliamy. Sir Richard Westmacott has established his own foundry in Pimlico in 1809- with Sir Richard Chantrey establishing another in 1827. Prior to this, both had relied on foundries such as the Royal Brass Foundry at Woolwich. For an example of this portrait bust in marble please see Dreweatts 1759, Fine Furniture and Works of Art auction, 29th March 2023, lot 305 (sold for £9,000 hammer).
Lot 222
ATTRIBUTED TO PIERRE AMÉDÉE MARCEL-BÉRONNEAU (FRENCH 1869-1937)- A BRONZE FIGURE OF THE DEAD CHRIST EARLY 20TH CENTURY 13cm high, base 36cm wide, 14cm deep For an almost identical version of this work please see The Frick Collection photo archive, unidentified photographic source 58252 Frick Art Reference Library, New York. This records an example which at one time, prior to July 1990, was with M.R. Schweitzer, dealer, New York. Online link here. Condition Report: Some mild rubbing and wear to patina on exposed areas of anatomy and edges, slightly dirty to recesses, base with wear- notably to one cornerCondition Report Disclaimer
Lot 107
KALIN THOMAS (AMERICAN B.1986) THE ASSASSINATION OF DIRCE, 2017 Oil on panel 152.5 x 248cm (60 x 97½ in.) Provenance: Purchased directly from the artist Kalin Thomas's work bridges the gap between Renaissance art and contemporary ideas, using the rich visual language of iconic painters such as Bronzino, Titian, and Pontormo. By invoking their style and techniques, he crafts what he describes as "history paintings," wherein he freely manipulates classical content and symbols to express modern values. In this painting, Thomas draws clear references to the ancient sculpture The Farnese Bull, housed at the National Archaeological Museum of Naples. This renowned piece of antique art, possibly the earliest depiction of the same mythological subject, serves as an inspiration for Thomas, reflecting his practice of reinterpreting classical works. Additionally, the painting's structure and leftward movement strongly evoke Titian's Bacchus and Ariadne from the National Gallery, reinforcing Thomas's blend of Renaissance composition and contemporary reinterpretation of mythological themes Condition Report: λThe painting is in good original condition. Condition Report Disclaimer
Lot 57
THE DE ROTHSCHILD VASES: AN IMPORTANT PAIR OF CARVED IMPERIAL PORPHYRY VASES FRENCH, 18TH/19TH CENTURY Each in Egyptian porphyry with waisted neck flanked by dolphins, the gadrooned body embellished with a frieze carved with rinceaux and male masks, on a waisted socle and square plinth 53cm high, 34cm wide, bases 14.3cm square Provenance: Vase 1: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Vase 2: The De Rothschild Collection, Exbury House, Hampshire Literature: P. Malgouyres et al., Porphyre: La Pierre Pourpre Des Ptolemées Aux Bonaparte, Paris, 2003 D. del Bufalo, Porphyry: Red Imperial Porphyry. Power and Religion, Turin, 2012 Quarried exclusively at Mons Porphyrites in the Eastern Desert of Egypt, Imperial porphyry has been prized since antiquity for its remarkable hardness and lustrous purple colour, which bears a close resemblance to that of a particularly expensive pigment developed by the Phoenicians, known today as Tyrian dye. Several literary sources from antiquity speak of Alexander the Great's partiality to this colour, of his custom of wearing purple robes and of decorating his palaces with porphyry. The heirs to his throne in Egypt, the Ptolemies, are said to have continued this tradition, but it is only with the Roman Emperors Nero and Vespasian, towards the end of the first century A.D., that the association of porphyry with secular and religious power became established in Western civilisation. Rome, the seat of the Empire, is where centuries later ancient porphyry statues, slabs, columns and vessels were excavated, as a result of the Renaissance period's renewed interest in classical art and architecture. The potent symbolism of porphyry, with its strong imperial connotation, thus assumed an additional level of meaning, as an emblem of Renaissance courts' erudition, fascination with antiquity and aspiration to parallel ancient Rome's splendour. By the seventeenth and eighteenth centuries, porphyry was avidly collected by powerful figures such as the Medici Grand Dukes of Tuscany, the French cardinals Richelieu (1585-1642) and Mazarin (1602-1661), and the 'Sun King' Louis XIV of France (1638-1715), who had a buying agent in Rome for his acquisitions. The interest in porphyry was such that it prompted artists to rediscover the art of carving it, a practice for which ancient Roman columns and other fragments were used, since Mons Porphyrites in Egypt had become inaccessible, a fact that further enhanced the rarity and value of works in this material. The presence in Rome of influential figures such as Cardinal Richelieu introduced to Paris the taste for beautifully carved porphyry, which arguably culminated during the reign of the Sun King Louis XIV. In his residence at Versailles, the Gallery of Mirrors boasts to this day one of the most extraordinary collections of porphyry objects, comprising both vases and busts. Whilst no prototype has been identified for the design of the present pair of vases, the dolphin handles are emblematic of the Grand Dauphin (1661-1711), the son of Louis XIV. The zoomorphic handles follow in the tradition of Roman porphyry vases of the 17th century, such as the vase carved by Giovanni Battista Pozzi around 1684, now in the Wallace Collection (inv. F362). Another single porphyry vase, featuring a lid surmounted by a dolphin, was recently sold by Sotheby's Paris (16 June 2020, lot 4, EUR 200,000 including buyer's premium). These vases were almost certainly together as a pair whilst owned by the De Rothschild family in the 19th/20th century, whereafter they were separated, one remaining in the Rothschild collection until the 21st century, whilst the other found its way to an Important Private collection in Switzerland. After purchasing the vases separately, the vases have now been reunited, after decades apart, by Tomasso. Two further pairs of nearly identical form have been auctioned in the twentieth century at Christie's New York (26 October 1994, lot 108) and at Sotheby's Monaco (14 June 1997, lot 125). Condition Report: With wear as per age and use. In the flesh, the pink inclusions are slightly stronger in colour than main catalogue images suggest. Some mild variance to design by the very nature of the material. Natural flaws to material, some edge wear and minor losses. All noses to masks with small holes. First vase- quite shallow depth to internal aperture, dark marks around top rim, small area of old restoration to one cheek of mask and with natural flaw running through it up diagonally, fritting around top collar of socle base, spot restoration to corners of plinth, underside with distinctive square cut access to stem support, looks to possibly have had internal stem remounted for better stability. Second vase, deeper internal aperture- this has been suggested as being as a result of prior use as lamp base, old knock to top edge, small loss of leaf below handle, area of restoration to socle, plinth with old break and repair. Edge and small corner chips to base. Provenance: First vase: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris Second vase: The De Rothschild Collection, Exbury House, Hampshire Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer
Lot 424
AFTER THE ANTIQUE- A CARVED FRUITWOOD FIGURE OF THE APOLLO BELVEDERE ITALIAN, 17TH/18TH CENTURY On an integrally carved circular plinth figure 53cm high Provenance: Yves Saint Laurent and Pierre Bergé Collection Private collection, Lombardy. Literature: F. Haskell & N. Penny, Taste and the Antique, Yale University Press, 1981, p. 148-151 J. J. Winckelmann, Writings on Art, ed. David Irwin, Phaidon, 1972, p. 140. This figure is a rare fruitwood model of the celebrated antique marble in the Belvedere courtyard in the Vatican, known as the Apollo Belvedere. While scholars have been divided on whether the work is a Greek original, or a Roman copy of a fourth-century Greek bronze carved during the Hadrianic period, the Apollo Belvedere remains without doubt one of the most sublime statues surviving from ancient times. Its ancient provenance, along with its discovery are unknown; however, by the end of the sixteenth century, it was in possession of Cardinal Giuliano della Rovere, the future Pope Julius II, who moved it to the Vatican during his pontificate. There, it was displayed in a niche in the Belvedere courtyard, where, with the exception of the period between 1797 to 1816, when it was ceded by Pope Pius IV to the French (under the Treaty of Tolentino) and displayed in Paris, it has remained ever since. Admired for its physical beauty and underlying sensuality, for the preeminent neoclassical art theorist, Johann Joachim Winckelmann, the Apollo Belvedere represented the apogee of the Greek ideal. Winckelmann ascribed to the work 'a noble simplicity and quiet grandeur', one that had an incredibly powerful agency: "In the presence of this miracle of art I forget all else, and I myself take a lofty position for the purpose of looking upon it in a worthy manner [...] I feel myself transported to Delos and into the Lycaen groves, - places which Apollo honoured by his presence [...]". An icon of the Enlightenment, the Apollo Belvedere was widely copied and translated into a great variety of materials, and this fruitwood version is an unusual and rare survival from this period. The fine grain of this fruitwood allows for passages of very intricate carving on a minute scale and, when polished, enables the work to take on a rich brown coloration in a similar manner to bronze. Versions of classical sculptures made from these types of woods appealed to the same collectors who prized bronze statuettes. Condition Report: Saleroom Notice- the description has been updated and differs from the printed catalogue- the figure is 53cm high. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with typical remedial/conservation work around jointed construction points- elbows, hands, base, knees and legs etc. These have occurred at different times- with differing levels of execution- surface with attrition scuffs from handling, signs of repairs to old damages to base of cloak, fold of cloak and right hand- which are more restoration than conservation. Shrinkage faults- some later infill Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
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