A Bronze Age gold and carnelian toggle pin Possibly Cyprus, circa 1400-1300 B.C.The spherical carnelian bead vertically fluted and affixed to the pin with a round disc, the body of the pin decorated in gold with alternating plain ring segments and fluted segments, tapering to a point, an attachment loop on one side, 10.5cm longFootnotes:Provenance:Acquired by the current owner from Sumer Gallery, New York, 22 November 1986.This elegant toggle pin was used to secure and adorn draped clothing. The fluted bead at the top of the pin is shaped to resemble a poppy seed head, and an example from the Metropolitan Museum of Art in New York (acc. no. 1989.281.14) rattles when shaken. See also an example solely in gold from the Cleveland Museum of Art, acc. no. 1947.36. Further examples exist in the British Museum, London, specifically acc. nos. 1897,0401.348 and 1897,0401.102 which have similar attachment loops.For further information on this lot please visit Bonhams.com
We found 12576 price guide item(s) matching your search
There are 12576 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
12576 item(s)/page
An Anatolian marble schematic idol Early Bronze Age, circa 3rd Millennium B.C.The anthropomorphic idol of 'violin' type, with a small, oval-shaped head, the outline of the face incised, the elongated neck gently flaring to the neckline marked by an incised V, with short vestigial arms above the spade-shaped body, 14.7cm highFootnotes:Provenance:Anonymous sale; Sotheby's, London, 9 May 1966, lot 137.with Gimpel Fils, London, acquired from the above sale.Exhibited:'Primitive Art from 2500BC', Gimpel Fils, 30 November 1966-21 January 1967 (cat. no. 1).'Primitive Art from 2500BC', Gimpel Fils, 3 December 1968-18 January 1969 (cat. no. 7).For further information on this lot please visit Bonhams.com
A group of books on Greek sculpture Comprising: G.M.A. Richter, The Portraits of the Greeks, vols I-III, London, 1965; G.M.A. Richter, Catalogue of the Greek Sculptures in the Metropolitan Museum, New York, New York, 1954; P. Getz-Preziosi, Early Cycladic Art in North American Collections, Virginia, 1988; P. Getz-Preziosi, Early Cycladic Sculpture: an Introduction, London, 1985; F.P. Johnson, Corinth, Volume IX, Sculpture, Cambridge, Mass., 1931; G. Dickins, Damophon, 1905; K. Lapatin, Chryselephantine Statuary in the Ancient Mediterranean World, Oxford, 2001; E. Wasmuth, Frühgriechische Plastik, Band 3; Berlin; J. Dorig, The Olympia Master and his Collaborators, Leiden, 1987; A. Kozloff & D.G. Mitten, The Gods Delight; The Human Figure in Classical Bronze, Cleveland, 1988; M. Bieber, The Sculpture of the Hellenistic Age, New York, 1961; B.S. Ridgway, The Archaic Style in Greek Sculpture, Princeton, 1977; B.S. Ridgway, The Severe Style in Greek Sculpture, Princeton, 1970; P.C. Bol, Die Skulpturen Des Schiffsfundes von Antikythera, Berlin, 1972; C. Rolley, Greek Bronzes, London, 1986; M.L. Saflund, The East Pediment of the Temple of Zeus at Olympia, Göteborg, 1970; D. Buitron-Oliver, The Greek Miracle; Classical Sculpture from the Dawn of Democracy – The Fifth Century BC, Washington, 1992; E. Berger & M. Gisler, Parthenon Dokumentation zum Fries, Text, Mainz, 1996; E. Berger & M. Gisler, Parthenon Dokumentation zum Fries, Tafeln, Mainz, 1996; E. Berger, Parthenon Metopen in Basel, Tafeln, Mainz, 1986; E. Berger, Das Basler Arztrelief, Basel, 1970; H. Payne & G. Mackworth-Young, Archaic Marble Sculpture, second edition, 1950; H. Payne & G. Mackworth-Young, Archaic Marble Sculpture, first edition, undated. (25)For further information on this lot please visit Bonhams.com
1ST/2ND CENTURY BRONZE ROMAN FIGURE modelled in the round, shown standing in three-quarters view, half-nude, holding a scalloped tray of bunches of grapes in both hands, mounted on modern plastic base; height of sculpture only: 24 cm (9 1/2 in.), including base: 26 cm (10 1/4 in.) PROVENANCEPrivate collection, New York, since before 1967. (Copy of insurance appraisal available upon request)CONDITIONThe sculpture is in good age-appropriate condition, with overall verdigris. No significant losses apparent to the naked eye.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
19TH CENTURY BLOCH & CIE ORMOLU CANDELABRASeach with a porcelain courting couple atop a naturalistic base, each atop a ormolu gilt-bronze bases pierced with trellis, extending around foliate vines into three candelabra with colorful soft-paste porcelain flowers, each with factory mark in blue underglaze back of naturalistic base; height: 40 cm (15 3/4 in.)CONDITIONThe pair appears in age-appropriate but fragile condition. Overall patina, surface dust and discoloration. Scattered chips visible to the soft paste flowers along with visible repairs. Each courting couple attached but loose to the gilt-brass bases. Would benefit from professional cleaning. Inspection under UV light shows fluorescence along with scattered repairs to the soft paste flowers.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
MONUMENTAL THAI BRONZE GROUP OF RAMA AND RAVANAdepicting the Lord Rama as archer, standing with one raised leg, standing over the king Ravana; height: 129 cm (50 3/4 in.)CONDITIONThe sculpture appears in overall good age-appropriate condition. N.B. sculpture was installed outdoors, resulting in surface wear, corrosion and patination.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
ERNST NEIZVESTNY (RUSSIAN 1925-2016)Wrestlers,bronze with brown patinaheight: 30 cm (11 3/4 in.)signed on baseCONDITIONThe sculpture is in overall age appropriate condition. Rubbing to the patina visible with the naked eye on the left top arm, on the left side of the base, and on the right legs. Apparent in photographs.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
EARLY 20TH CENTURY JAPANESE BRONZE KANON FIGUREshown standing, holding a pair of blooming lotus stalks, with a flame-like halo, atop a double-gourd rounded base; overall height: 64 cm (25 1/4 in.) CONDITIONThe figure appears in age-appropriate condition. Overall surface dust and minor patina visible. Photographs presented in the catalogue are representative of condition.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
TIFFANY-STYLE 'HOLLY BUSH' TABLE LAMPleaded glass and bronze, with a bronze cover, on a Tiffany-style base with conforming feet, stamped TIFFANY STUDIOS NEW YORK on interior of shade, stamped TIFFANY STUDIOS NEW YORK and stamped with inventory numeral 21667 under base; height: 60 cm (23 5/8 in.), diameter of shade: 40 cm (15 3/4 in.)CONDITIONThe lamp appears in age-appropriate condition. Overall surface dust. A thin fissure visible across one of the leaded glass panels, measuring 5 cm (2 in.) in length. One of the feet has come loose, but the base remains in stable condition.The lamp is not wired therefore not in working condition.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
HAN DYNASTY FANGHU BRONZE RITUAL VESSELS AND COVERSbaluster form, with a square neck with conforming covers the four corners decorated with the neck and head of a bird, each with two circular handles terminating from a mouth of a dragon, with square foot rims; height including covers: 43 cm (16 7/8 in.), height without covers: 37 cm (14 5/8 in.)CONDITIONThe pair appears in age-appropriate condition. Overall patina, discoloration and variation in color. All consistent with age. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
FRENCH NEOCLASSICAL-STYLE BRONZE CANDELABRAa pair of neoclassical candelabra, each nine-light candelabra is held by a woman in neo-classic toga-esque dress, with braided hair, standing on a gilt cube plinth with neoclassical motifs, the candelabra arms feature a cornucopia with bounty, five large arms feature a floral scroll with a small sconce featuring five more arms with a floral scroll. each candelabra sits on a larger cubed base that is black with gilt trim featuring a cartouche of a Neo-classical scene on gold square feet. overall height including base: 150 cm (59 in.)CONDITIONIn age-appropriate condition. Overall surface dust visible, most notably on the figures. Minor surface scuffs and scratches to the figures, most notably their shoulders. One of the candelabras arms is loose, visible wax residue in both candelabras and overall surface dust visible in the crevasses of the floral scrolls.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
FRANZ BERGMAN (AUSTRIAN 1861-1936)Running Moorish Soldier,circa 1900cold-painted bronzeoverall height: 26 cm (10 1/4 in.)the body and base signed with 'B in a vase' and stamped Geschutzt 2897LITERATUREJoseph Zobel, Antique Vienna Bronzes, (Atglen: Schiffer Publishing, 2008), p. 147CONDITIONThe bronze sculpture appears in very good age-appropriate condition. Overall craquelure apparent to his clothing. Scattered losses of paint, most notably to the base. Inspection under UV light shows fluorescence, but no apparent signs of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
PAIR OF TIFFANY STUDIOS 'GRAPEVINE' BOOKENDS the pair of bronze with leaded green and white glass, the overlay of bronze featuring a grapevine motif, each stamped TIFFANY STUDIOS NEW YORK and numbered 1024 under base; height: 15 cm (5 7/8 in.)CONDITIONThe bookends appear in good condition. Minor patina visible to the edges. Light surface dust along with scuffs and scratches to the bronze. All consistent with age and use. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Alfred Hrdlicka (1928 Wien - 2009 ebenda) (F)'Striptease II', 1973, Bronze, gold-braun und dunkel patiniert, Maße 36,5 cm x 15 cm, signiert, Gießerstempel, 12/55 nummeriert, 'MS' monogrammiertProvenienz: Privatsammlung HannoverLiteratur: Wvz. Lewin 151a"Alle Macht in der Kunst geht vom Fleisch aus." (Alfred Hrdlicka)Oskar Lafontaine schreibt 1994 im Vorwort des Bandes "Alfred Hrdlicka, Zeichnungen", dass Hrdlickas Werk getragen sei von "einem schonungslosen Humanismus, der auch Mord und Terror und sexuelle Brutalität mit expressiven Stilmitteln und bisweilen schockierender Deutlichkeit vor Augen führt." Alfred Hrdlicka wurde am 27. Februar 1928 in Wien geboren und war ein bedeutender österreichischer Bildhauer, Zeichner, Maler und Schriftsteller. Für den überzeugten Kommunisten war Kunst ein Mittel politischer Agitation und fungierte als Sprachrohr der Unterdrückten, so sind viele seiner Werke Mahnmale gegen Krieg und Faschismus. Er selbst begriff die Kunst als Versuch etwas zu bewegen. Er orientierte sich nicht an den vorherrschenden Strömen der österreichischen Kunstszene und interessierte sich weder für Erwartungen ihm gegenüber noch für Ehrungen. Die abstrakte Kunst lehnte Hrdlicka ab und bezeichnete diese sogar als Blankoscheck, den jeder Kritiker nach Belieben mit seiner eigenen Interpretation füllen könne. Hrdlickas Kindheit war geprägt von der Zwischenkriegszeit, seine Jugend von der Zeit des Nationalsozialismus. Sein Vater war ein kommunistischer Gewerkschaftsfunktionär, so ist es nicht überraschend, dass er schon früh für politische Fragen sensibilisiert war. Im Zentrum seiner Arbeit stehen die traumatisierten Menschen der Nachkriegszeit. Von 1946 bis 1957 studierte Hrdlicka Malerei an der Akademie der bildenden Künste in Wien bei Josef Dobrowsky und Albert Paris Gütersloh, sowie Bildhauerei bei Fritz Wotruba. Der internationale Durchbruch gelang dem Künstler 1964 durch die Teilnahme an der 32. Biennale in Venedig, wo er, gemeinsam mit Herbert Boeckl, als offizieller Vertreter Österreichs ein großes Publikum auf sich aufmerksam machen konnte. Die zentralen Elemente seiner politischen Kunst waren menschliches Leid und Schmerz, ausgelöst durch Krieg und Faschismus. So implizieren fast alle seiner figurativ-expressiven Werke politische Inhalte wie Gewalt, Sex und Faschismus, die provozieren und immer wieder zu gesellschaftlichen Kontroversen führen. Obwohl seine Lehrtätigkeit umstritten war, hatte Alfred Hrdlicka hatte mehrere Professuren inne. Von 1973 bis 1975 lehrte er an der Hochschule für Bildende Künste in Hamburg, anschließend unterrichtete er von 1986 bis 1989 als Professor für Bildhauerei an der Universität der Künste in Berlin. Darauffolgend wurde er 1989 an die Universität für Angewandte Kunst in Wien berufen. Alfred Hrdlicka (1928 Vienna - 2009 ibid) (F)'Striptease II', 1973, bronze, golden brown and dark brown patina, dimensions 36.5 cm x 15 cm, signed, foundry stamp, numbered 12/55, monogrammed 'MS'Provenance: Private collection, HanoverLiterature: Cat. rais. Lewin 151a''All power in art is derived from flesh.'' (Alfred Hrdlicka)In his foreword to the 1994 publication ''Alfred Hrdlicka, Zeichnungen'', Oskar Lafontaine described Hrdlicka's work as characterised by a ''merciless humanism, one that depicted murder, terror, and sexual brutality with expressive stylistic devices and at times shocking clarity.'' Alfred Hrdlicka was born in Vienna on 27th February 1928. He became an important sculptor, draftsman, painter and writer in Austria. For the staunch Communist, art was a means of political agitation and acted as a mouthpiece for the oppressed, so many of his works are memorials against war and fascism. He himself understood art as an attempt to move something. He did not orientate himself to the prevailing currents of the Austrian art scene and was not interested in expectations towards him or in honours. Hrdlicka rejected abstract art, even describing it as a blank cheque that every critic could fill with his own interpretation at will. Hrdlicka's childhood was shaped by the interwar period, his youth by the National Socialist era. His father was a Communist trade union official, so it is not surprising that he was sensitized to political issues at an early age. His work focuses on traumatized people in the postwar period. From 1946 to 1957, Hrdlicka studied painting at the Academy of Fine Arts in Vienna with Josef Dobrowsky and Albert Paris Gütersloh and sculpture with Fritz Wotruba. The artist's international breakthrough came in 1964 when he participated in the 32nd Venice Biennale, where, together with Herbert Boeckl, he was able to attract a large audience as the official representative of Austria. The central elements of his political art were human suffering and pain, triggered by war and fascism. Thus, almost all of his figurative-expressive works imply political content such as violence, sex and fascism, which provoke and always lead to social controversy. Although his teaching activities were controversial, Alfred Hrdlicka held several professorships. From 1973 to 1975 he taught at the Hochschule für Bildende Künste in Hamburg, then from 1986 to 1989 he taught as professor of sculpture at the Universität der Künste in Berlin. Subsequently, he was appointed to the University of Applied Arts in Vienna in 1989.
Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, Bronze, poliert, auf Holzsockel, Höhe (mit Sockel) 35,5 cm, signiert, 'artcurial' bezeichnet, 47/350 nummeriert, partiell leicht beschädigt, Zertifikat anbei, Kopie des Kaufbeleges anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung Hannover"Ich habe immer jene beneidet, für die ein Werk ein Geheimnis ist." (Man Ray)Der amerikanische Fotograf, Filmregisseur, Maler und Objektkünstler Emanuel Rudnitzky alias Man Ray gilt als einer der wichtigsten Vertreter des Surrealismus und Dadaismus. Schon als Kind beschäftigte er sich mit Kunst und beschloss früh, dass er dies zu seinem Beruf machen wollte. Zusammen mit Marcel Duchamp gründete er die New York DADA-Gruppe. Im Alter von 31 Jahren zog Man Ray nach Paris und machte dort Bekanntschaft mit wichtigen Künstlern wie Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian und Yves Tanguy. Später fanden die meisten von ihnen als Porträts Einzug in Man Rays fotografisches Werk. 1922 spalteten sich die Dadaisten und Surrealisten, woraufhin sich Man Ray dem Surrealismus anschloss. In den späten 1930er Jahren floh er vor den Nationalsozialisten nach New York und kehrte erst 1951 nach Paris zurück. 1958 nahm Man Ray an der großen Dada-Ausstellung im Stedelijk Museum in Amsterdam teil, sowie an der Ausstellung im Kunstverein Düsseldorf. 1966 wurde im County Museum of Art in Los Angeles seine erste große Retrospektive gezeigt. Bei der Figur der "Hermaphrodite", handelt es sich um eine doppelgeschlechtliche Figur aus der griechischen Mythologie. Mit diesem Thema befasste sich Man Ray bereits in den 1930er Jahren im Bereich der Fotografie und vierzig Jahre später griff er es in der Form einer archaischen Statuette wieder auf. Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, bronze, polished, with wooden plinth, height (with plinth) 35.5 cm, signed, inscribed 'artcurial', numbered 47/350, some minor damage, with certificate and copy of the purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, Hanover''I have always envied those for whom a work is a mystery.'' (Man Ray)The American photographer, film director, painter and sculptor Emanuel Rudnitzky, alias Man Ray, was among the most important representatives of the Dadaist and Surrealist movements. He enjoyed art even as a child and decided early in life to make it his career. He founded the DADA group in New York together with Marcel Duchamp. He moved to Paris at the age of 31, where he made aquaintance with influential artists like Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian and Yves Tanguy. The majority of them would later enter Man Ray's photographic oeuvre in the form of portraits. The Dadaist separated from the Surrealists in 1922, and Man Ray sided with the Surrealists. In the late 1930s, he fled from the Nazis to New York, only returning to Paris in 1951. In 1958 he took part in the great Dadaist exhibitions in the Stedelijk Museum in Amsterdam and the Kunstverein Düsseldorf. An extensive retrospective of his work was exhibited at the County Museum of Art in Los Angeles in 1966. The hermaphrodite was a two-gendered being from Greek mythology. Man Ray had already explored the subject in his photographic works in the 1930s, and 40 years later he returned to the motif in the form of an archaic statuette.
Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, Bronze, schwarz patiniert, Maße 33 cm x 17 cm, signiert, Gießerstempel, 52/175 nummeriert, partiell restauriert, Gießerstempel verschlagen, Kaufbeleg anbeiProvenienz: Die Galerie, Offenbach a.M., Privatsammlung Hannover,Literatur:Pech, Jürgen: Max Ernst - Plastische Werke, Köln 2005, S. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, Ausst.-Kat. Kunstsammlung Nordrhein-Westfalen 1998, S. 183 (mit Abb.).Hauptsächlich für seine innovativen Techniken im Bereich der Malerei bekannt, war der deutsche Künstler Max Ernst genauso experimentierfreudig in der Bildhauerei. Spielerisch setzte er alltägliche Gegenstände wie Löffel, Muscheln oder Töpfe zusammen, um sie in Form seiner zugleich humorvoll wie mysteriös erscheinenden Bronzefiguren neu zu interpretieren. Als Pionier der Dada- und Surrealismus-Bewegungen, schätzte Ernst das Medium der Skulptur für die Freiheit und beschrieb diese als "mehr pures Spiel als die Malerei". Geboren in Brühl in der Nähe von Köln, entdeckte Ernst früh ein Interesse an der Kunst und brachte sich Malerei und Zeichnen als Autodidakt neben seinem Studium der Philosophie und Kunstgeschichte bei. Während seiner Studienzeit lernte er August Macke kennen und durch die Unterstützung des Künstlers und seinem Freundeskreis wurde Ernst ermutigt, sich als Maler zu betätigen. Er hatte seine erste Ausstellung 1912 in der Galerie Friedmann in Köln, doch seine Karriere wurde schon 1914 durch seine Einberufung im Ersten Weltkrieg unterbrochen.Die Rückkehr aus dem Krieg empfand Ernst als eine Art Wiedergeburt und gründete kurz darauf 1919 die Kölner Dada-Gruppe zusammen mit befreundeten Künstlern. Die Bewegung verstand sich als eine bewusste Ablehnung von bürgerlichen Normen und Idealen aber auch als eine Rebellion seitens der Künstler gegen die Kunst selbst, in einer Gesellschaft, von der sie sich aufgrund ihrer Kriegserfahrungen immer weiter entfernt fühlten. Dada blieb jedoch als Bewegung relativ kurzlebig und schon 1924 unterzeichnete Max Ernst in Paris das "Manifeste du Surréalisme". Ähnlich der Dadaisten verwendeten die Surrealisten den Zufall als wichtiges Prinzip in ihren Arbeiten mit dem Ziel - ausgehend von den psychologischen Theorien Sigmund Freuds und Carl Jungs - den Prozessen ihres Unterbewusstseins bildhafte Form zu verleihen. Obwohl Max Ernst schon 1938 aus der Bewegung wegen persönlichen Differenzen austrat, blieb dieser psychologische Ansatz für seine Werke von großer Bedeutung.Im Spätwerk "Chéri Bibi" lächelt eine kükenartige Fratze dem Betrachter entgegen. Obwohl sie aus blockhaften geometrischen Formen zusammengestellt ist, wirkt die Figur lebendig und verschmitzt. Der spitze Schnabel und die glänzenden Augen erinnern an die Vogelmotive, welche sich wie ein roter Faden durch Ernsts gesamtes Oeuvre ziehen. Die vielleicht berühmteste Vogelfigur des Malers war der Charakter "Loplop", den der Künstler fast selbstporträtartig in vielen seiner Gemälde als symbolische Darstellung seines eigenen Egos integrierte. Der Titel dieses Werkes bezieht sich auf Gaston Lerouxs gleichnamige Romanfigur Chéri Bibi: Ein Metzgerjunge, der mehrmals aus dem Gefängnis ausbricht, nachdem er unschuldig verhaftet wurde. Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, bronze, dimensions 33 cm x 17 cm, signed, foundry stamp, numbered 52/175, partially restored, foundry stamp indistinctly struck, with purchase receiptProvenance: Die Galerie, Offenbach a.M.; private collection, HanoverLiterature:Pech, Jürgen: Max Ernst - Plastische Werke, Cologne 2005, p. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, exhib. cat. Kunstsammlung Nordrhein-Westfalen 1998, p. 183 (illus.).Although primarily known for his innovative techniques in the field of painting, German artist Max Ernst was equally experimental in sculpture. He playfully assembled everyday objects such as spoons, shells, and pots to reinterpret them in the form of bronze figures, which appear both humorous and mysterious. A pioneer of the Dada and Surrealist movements, Ernst valued the medium of sculpture for its freedom, describing it as ''more pure play than painting.'' Born in Brühl, near Cologne, Ernst discovered an interest in art at an early age and taught himself painting and drawing alongside his studies in philosophy and art history. During his time as a student he met August Macke, and through the support of the artist and his circle of friends, Ernst was encouraged to pursue painting. He had his first exhibition in 1912 at the Friedmann Gallery in Cologne, but his career was interrupted in 1914 when he was conscripted for the First World War.Ernst perceived his return from the war as a kind of rebirth and shortly thereafter founded the Cologne Dada group together with artist friends in 1919. The movement propagated a conscious rejection of bourgeois norms and ideals but also as a rebellion on the part of the artists against art itself, in a society from which they felt increasingly distant due to their wartime experiences. Dada remained relatively short-lived as a movement, however, and as early as 1924 Max Ernst signed the ''Manifeste du Surréalisme'' in Paris. Similar to the Dadaists, the Surrealists used chance as an important principle in their work with the goal - based on the psychological theories of Sigmund Freud and Carl Jung - of giving pictorial form to the processes of the subconscious. Although Max Ernst left the movement as early as 1938 due to personal differences, this psychological approach remained of great importance for his works.In the late work ''Chéri Bibi'', a chick-like creature smiles crookedly out towards the viewer. Although composed of stark geometric shapes, the figure appears lively and mischievous. The pointed beak and shining eyes are reminiscent of the bird motifs that run like a thread through Ernst's entire oeuvre. The painter's perhaps most famous bird figure was the character ''Loplop'', which the artist integrated almost like a self-portrait in many of his works as a symbolic representation of his own ego. The title of this piece refers to Gaston Leroux's eponymous novel character Chéri Bibi: a butcher's boy who escapes from prison numerous times after being arrested for a crime he didn't commit.
IRON MAN #55 - (1973 - MARVEL - UK Price Variant) KEY Bronze Age Book with multiple First Appearances - First appearances of Thanos (Avengers), Drax the Destroyer (Guardians of the Galaxy), Starfox (Eternals), Mentor, Kronos, Blood Brothers - Jim Starlin story, cover & interior art - Flat/Unfolded - a photographic condition report is available on request
BATMAN # 227 (1973 - DC - UK Cover Price) - Classic Neal Adams cover, a homage to Detective Comics #31 + Robin backup story + Currently the 18th most valuable book on Overstreet's Top 25 Bronze Age Comics list - Irv Novick, Dick Giordano, Mike Esposito interior art - Flat/Unfolded - a photographic condition report is available on requ
X-MEN #94 - (1975 - MARVEL) KEY Bronze Age Book - The title ceased it's five-year run of reprints and resumed original material with this issue + second appearances of the 'New' X-Men - Wolverine, Colossus, Nightcrawler, Storm, Banshee, Thunderbird following their debut in Giant-Size X-Men #1 (also available in today's sale) + Angel, Marvel Girl, Iceman resign & Sunfire leaves the team - Gil Kane and Dave Cockrum cover with Cockrum interior art - Flat/Unfolded - a photographic condition report is available on request
GIANT-SIZE X-MEN #1 - (1975 - MARVEL) KEY Bronze Age Book - First new X-Men line-up debuted in this issue + First appearances of Nightcrawler, Storm, Colossus, Thunderbird + second full appearance of Wolverine + The shake-up re-invigorated the title and ultimately changed the face of comics for decades to come and is considered one of the most influential of any Marvel title with the issue currently ranked #9 in value on Overstreet's list of Top 10 Bronze Age Comic Books - Gil Kane and Dave Cockrum cover with Cockrum interior art & story - Flat/Unfolded - a photographic condition report is available on request
An unusual pair of Chinese bronze Mandarin Ducks, Qing dynasty (1644-1911), possibly 17th century, well modelled as a male and female Mandarin and with dark brown patinamale 21cms high 23c,s wide female 19cms high 17cms wideQty: 2From a private collection of a Late Senior Diplomat who formed his Chinese collection mainly in Brussels in the 1970'sCondition report: In overall good condition, wear commensurate with age
An early Chinese gilt bronze plaque, 12th or 13th century, depicting a female drummer in long flowing robes. The surface with deep patina showing the remains of gilding on a later stand17cms wide 12.5cms highQty: 1Condition report: Overall good condition, commensurate with age, losses to shoulder
A BRONZE AQUAMANILE 17TH OR 18TH CENTURY Of stylised lion form, scrollover tail handle10.5cm high, 14cm longFor a strikingly similar but paler example of this shape and style of aquamanile, see Sotheby's, Amsterdam, European Collections: Elegant Living on the Continent, 16th December 2003, Lot 968, where it was catalogued as "possibly German Romanesque style bronze aquamanile shaped as a lion possibly 17th/ 18th century". Condition Report: There are marks, scratches and abrasions consistent with age and use. The small hole to the head of the lion has visible 'filler', so is unable to be used as jug. Variable patination ranging from golds, browns and black. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A SET OF FOUR ITALIAN GILT BRONZE WALL APPLIQUES18TH CENTURYModelled as figures emblematic of the four seasonsthe tallest 32cm highCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use.The bronze casting with some faults, particularly near any extremities (see images).All four appliques with old screw holes to the base from when they were previously mounted.Additionally, all four appliques with two or more old securing holes.Please see additional images for visual reference for condition.Condition Report Disclaimer
A LARGE ENGLISH BRONZE MORTARATTRIBUTABLE TO THE WHITECHAPEL FOUNDRY, LONDON, MID 17TH CENTURY the flared body cast with two similar bands of shells and scrolls, descending to a bun foot, 15cm high, 19cm diameterFor similar examples from the Whitechapel Foundry, see Michael Finlay, English decorated bronze mortars and their makers, 2010, pages 66-67. Condition Report: The mortar bears the usual minor marks, knocks and scuffs overall consistent with age and use.There is some pitting to the interior and some tarnishing as well as a raised area at the bottom, but the exterior patination is a rich and glossy mid-brown overall.There are some areas of verdigris to the lip and foot, as well as light green residue to the recesses of the relief.The mortar has a resonant 'ring' when tapped. Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE FIGURE OF VENUS CAST BY THE SABATINO DE ANGELIS FOUNDRY, NAPLES, LATE 19TH CENTURYOn incised swept circular socle, the base with applied pressed brass foundry manufacturers plate 'SABATINO, DE ANGELIS & FILS, NAPLES'17cm highCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use.The dark brown patina is quite rubbed and scratched, particularly to the arms, legs, back and any extremities. These areas are a lighter, more golden hue.The upper left arm of Venus with a faint mark across along its circumference. This is indicative of of either a join from when it was separately case, or from an old repair.Please see additional images for a visual reference to condition.Condition Report Disclaimer
A GROUP OF SCULPTURES, COMPRISING: bronze bust of Queen Victoria on marble socle 20cm high, two oval relief portrait bronzes, an alabaster figure of Dante, and another alabaster bust of Tasso Condition Report : wear and tear commensurate with age throughout, the Dante figure has damage: broken base, book broken and re-stuck, chips to sleeve of robe Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A LARGE BRONZE SCULPTURE OF A STANDING NUDE FEMALE signed 'Morean', on marble base, 64cm high overall Condition Report : a large and heavy piece, no great age, but is bronze Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
1986 BMW 518i E28 Saloon - Family owned from new - Low mile example- Serviced & MOTd in July 2021- Bronze with grey cloth interior The E28, the second generation of the 5 series aimed to continue BMWs triumph as a leading executive car of choice. Powered by the 4-cylinder fuel-injected petrol engine, the 518i allowed for executive entry level motoring. Furthermore, the 518is also had a gemmer steering system with a double enveloping worm gear providing a silky driving experience. The vendor is selling on behalf of his late grandfather and has got the car fully inspected by a specialist ahead of sale and carried out a comprehensive service for safe keeping. Garaged all its life, the condition is a testament to that with no visible sign of rust on the body or underneath. The car generally presents itself well with only some slight age-related marks most notably on the drivers side front corner. Furthermore, the car also comes with a strong service history which is all neatly contained within its original booklet. The car sports grey cloth interior, manual transmission, sunroof and comes with its original tool kit. With the odometer reading just 42,316 miles, this must be the lowest mileage (& owner) RHD 518i available on the market right now and would compliment any BMW lovers collection. - Our buyers premium on all cars, motorbikes and scooters is 10% + VAT. - We encourage any interested parties to inspect the vehicle on our viewing days and prior to sale on Thursday 2nd to satisfy themselves on the car's condition, please check our buying terms and conditions for cars and bikes available online or via email. - Transportation options may be available, please contact us for a quote.Condition Report: Now registered in the vendors name after his grandfather's ownership - the car is now technically showing 2 keepers.
A collection of reliquary crosses and pendants, to include Coptic, Byzantine and later silver, bronze, wood and bone examples, the largest 6 x 6cm (47)Provenance: Iconastas, Piccadilly Arcade, St James's, London, W1.Набор реликварных крестов и кулоновВключая коптские, византийские и более поздные серебряные, деревянные и костяные предметыСамой большой из всех: 6 х 6 см (47)Происхождение: Иконастас, Аркада Пикадилли, Сент-Джеймс, Лондон, W1Condition report: The majority with rubbing and wear. Small dents, scratches and knocks. General wear commensurate with age and use.
A CHINESE BRONZE CENSER cast with a vase resting on a turtle, with cloud handles, 8cm high and a bronze shishi, 12cm high and an ivory figure of an okimono carving of an islander wearing foliate costume, signed, 20cm high (3) Condition Report: the shishi has broken back leg and lacks mount. the ivory figure has various age cracks .
THORVALDSEN BERTEL: (1770-1844) Danish Sculptor. A Medalist of international fame who spent a large part of his life in Italy. Among his more famous public monuments are the statues of Copernicus and Poniatowski in Warsaw, the one of Maximilian I in Munich or the tomb monument of Pope Pius VII which is the only work by a non-Catholic in St. Peter´s Basilica in Rome. Rare A.L.S., Alberto Thorvaldsen, one page, 4to, Rome, 13th June 1830, in Italian. Thorvaldsen states `Avendo veduto io sotto nello studio dei Signori Jollage ed Hopfgarten scultori in metallo qui in Roma i lavori fatti dal Sig[nor] Bartolomeo Conterio, ed avendo ancora conosciuti alcuni conii incise dal med[essimo] non ho potuto a meno di lodare l´esattezza, e l´abilita con cui erano fatti, ond´e che non dubito di attestare che il medessimo , atteso l´amore che porta allo studio, ed al lavoro, possa riuscire un bravo artista, e far onore a chi potesse incoragiarlo nell´arte sua.´ (“Having seen in the study of Messrs Jollage and Hopfgarten, metal sculptors here in Rome, the works done by Mr. Bartolomeo Conterio, and having also known some medals engraved by them, I could not help but praise the accuracy, and the skill with which they were made, so that I have no doubt to attest that the same, given the love that leads these works, can be a good artist, and honour those who could encourage him in his art´ Paper with watermark. With blank integral leaf. Small overall age wear and staining, otherwise G Wilhelm Hopfgarten (1789-1860) and Benjamin Ludwig Jollage (1781-1837) were German Sculptors who started a bronze foundry and a sculpture studio in Rome in 1805. They got important commissions casting bronzes for renowned artists working in Rome, such as Bertel Thorvaldsen or Antonio Canova. The Miguel de Cervantes bronze statue at the central Square of Las Cortes in Madrid was designed by Antonio Sola and cast in Rome by Hopfgarten and Jollage.Bartolomeo Conterio (1802-1840) Italian Sculptor.
A PAIR OF FRENCH GILT BRONZE TWIN LIGHT WALL APPLIQUES AFTER JEAN-CHARLES DELAFOSSE, 19TH CENTURYDraped urn finial above bold ram head mounts, floral draped shaped armseach approximately 45cm high, 32cm wide, 15cm deepProvenance: Private Collection, LondonCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThese have been externally wired and drilled for electricity, there are remnants of old wiring Please note these are sold as decorative works of art only and not as working electrical lamps - these would need to be rewired and tested by a professional electrician prior to installation in a domestic setting.Some dirt and discolouration to the metal, some pitting and wear, fitted with plastic faux candles Please refer to additional images for visual reference to condition Condition Report Disclaimer
Y A LOUIS XV/XVI TRANSITIONAL KINGWOOD, CROSS BANDED AND ORMOLU MOUNTED BUREAU PLATBY GEORGES JANSEN, CIRCA 1775 The underside stamped 'JANSEN'79cm high, 171cm wide, 87cm deep Georges Jansen (1726-??), originally of Scandinavian origin, received master ébéniste in Paris in 1767. He worked until around 1785 Rue du Faubourg Saint Antoine and was regarded as highly skilled craftsman best known for his work with inlays. Few pieces by Jansen are known and signatures are rarely found. There are only a handful of works of his held in museums, the best known being a small table at the Victoria & Albert Museum, London (accession number 1042:1-1882). Condition Report: There is a Christie's label to the underside: 148 18.6.89 . The central drawer marked in ink 'Juin 1777'. There are marks, scratches, cracks and abrasions consistent with age and use. There are some losses and restorations including to the veneers on the drawer fronts and the legs. The inset top marked, stained and faded, rubbed, scratched, scuffed and with corresponding creases to the underlying construction joints. The gilding worn to the gilt bronze border. The left drawer with an interior division, the right drawer with a lockable hinged section. The locks appear to be original each with an unusual disc to the back of each lock. There are two keys. There is some fading across the right side of the front. There is some evidence of old worm. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Loading...-
12576 item(s)/page