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Click here to subscribeVICTORIAN BRONZE OIL LAMP, LATE 19TH CENTURY modelled as a camel, parcel gilt, on natrualistic oval base, Rd. No. 2387139cm high, 52cm longLacking reservoir and fittings. Both clips on collar. Typical wear commensurate with use and age, would benefit from clean. Oil wouldn't go in the body, though a reservoir which is missing, both clips are there for a replacement.No drill holes to camel except where the saddle is mounted.
CONTINENTAL COLD PAINTED BRONZE TABLE LAMP, CIRCA 1920s modelled with two budgerigars perched on braches, raised on an onyx base with original hand painted shade32cm high to fittingOverall, this lamp is in good condition, but would benefit from some cleaning. The lampshade is in some disrepair, and has become slightly brittle with age. Additional images of this is now available.
LARGE BRONZE FIGURE OF HERMES, LATE 19TH CENTURY modelled with flask raised aloft in one hand and staff in the other, on one foot over mask allegorical for wind, on slate socle base with embossed figural friese86cm highCondition generally good. The index finger of the right hand is bent. Possible restoration/misshaping to staff. Further wear as per age. Additional images now available.
In the manner of Pierre Le Faguays "Fayral" a patinated and cold-painted bronze former lamp base supported by a pair of stylised blackamore sailor figures., holding a later alabaster orb in a large basket on a shaped base with a large wooden plinth. 31 cm wide x 26 cm overall height The collection of the late Robert HicksonRobert was a noted London antique dealer for over 40 years. Robert started in the Silver departments in Garrards in London at the age of 15 and by the age of 20 he had risen to manage Brompton Gallery in Knightsbridge. Robert had a long and successful career within the antique trade and had a particular passion for Silver and antique Eccentricities, his passion and connoisseurship are reflected in his collection.
A pair of Louis XVI-style gilt bronze and marble lamp/urn tables.20th century, with circular marble tops over reeded columns and square section architectural urn bases.43 cm x 51 cm overall height The collection of the late Robert HicksonRobert was a noted London antique dealer for over 40 years. Robert started in the Silver departments in Garrards in London at the age of 15 and by the age of 20 he had risen to manage Brompton Gallery in Knightsbridge. Robert had a long and successful career within the antique trade and had a particular passion for Silver and antique Eccentricities, his passion and connoisseurship are reflected in his collection. I think it probable that the tables are from the second half of the 20th century, I can see evidence of old filled holes on the underside of the tops suggesting these tops may have been on something else.One table top seems to have been stuck to the base at some point
An unattributed Art Deco patinated and gilt bronze figure of a lady dancing in Bedouin dress, early 20th century, on an oval base, together with a small late 19th-century French bronze figure of a girl in the manner of Moreau, unsigned, she stands with a posy in her hand on a circular base. 21 cm overall height, a marble scroll weight with a patinated satyr mask boss. The collection of the late Robert HicksonRobert was a noted London antique dealer for over 40 years. Robert started in the Silver departments in Garrards in London at the age of 15 and by the age of 20 he had risen to manage Brompton Gallery in Knightsbridge. Robert had a long and successful career within the antique trade and had a particular passion for Silver and antique Eccentricities, his passion and connoisseurship are reflected in his collection.
Seltener, figürlich dekorierter Deckelhumpen in geschnittenem Meerschaum mit vergoldeter Metallfassung und BronzemontierungHöhe: 49 cm.19. Jahrhundert.Wandung und Deckelbekrönung in Meerschaum, altersgetönt. Ovaler, kräftiger Standfußring, leicht gewölbt auf vier amorphen, floral gestalteten, versilberten Füßen, dazwischen erhabene, applizierte Dekorationsstücke im Knorpelwerkstil. Der Henkel S-förmig geschweift, kräftig und plastisch gegossen mit nacktem Oberkörper einer Mädchenfigur, aus Blättern emporsteigend. Daumenrast in Form des Oberkörpers eines geflügelten Putto, am leicht gewölbten Deckelrand ansetzend, dieser ebenso vergoldet und mit versilberten Reliefstücken mit Fruchtornamentik dekoriert. Als Deckelbekrönung große Figurengruppe des Herkules, der mit einem Kentaur kämpft, die Wandung umlaufend, mit reich figürlicher, antiker, mythologischer Szenerie dekoriert, aus Flachrelief in Vollplastik übergehend. Der Hintergrund gliedert die Wandung in sechs über den Häuptern sichtbaren Mauerbögen in Felsrustika mit daraus hervorwachsenden Mauerblumen und Blättern. Am Henkel beginnend, antike Gestalten, die Frauenfiguren jeweils mit nackten Oberkörpern, die Kinder nackt wiedergegeben. Einem Krugträger, der nach oben blickt, folgen zwei Mädchen, eine mit Fruchtschale neben der Göttin Athena mit Helm und Speer, darunter rechts eine junge Frau sitzend, die eine Muschel emporhält. Im weiteren Gefolge zwischen Frauen und einem Trompete blasenden Musiker ein altersfeister Gott Bacchus, von jungen Mänaden gehalten, in der rechten Hand eine große Traube haltend. Nach rechts folgend, thematisiert die Szenerie das Meeresthema, beginnend mit einem Delfin, darüber vergreift sich ein fischschwänziger Triton an einem Pansmädchen, rechts in einer Muschel stehend, Gott Neptun mit Zepter und Krone, den Arm auf eine Mänade gestützt, dahinter ein Mädchen mit Fischen an einen Stab gebunden. Zwischen den großen Figuren vielfach einkomponierte, geflügelte und ungeflügelte Puttenfiguren. Die Bogenarchitektur zeigt verschiedentliche Kriechtiere wie etwa eine Schlange unterhalb des Haltegriffes, der Lippenansatz als breites Band nach oben sich weitend, mit Blatt- und Blütendekoration ziseliert, im Kruginneren vergoldeter Einsatz, Deckelunterseite ebenfalls vergoldet. (1410061) (10)Rare and figuratively decorated lidded tankard in carved meerschaum with gilded metal mounting and bronze mountingHeight: 49 cm.19th century.Body and lid crowning in meerschaum, age-toned.
AFTER JEAN HOUDON- A PAIR OF GILT BRONZE AND MARBLE FIGURES 'THE KISS' FRENCH, 19TH CENTURY 24cm high Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some rubbing and wear to gilding- notably to raised areas of anatomy and leading edges- mark around one neck- some wear to bases- slightly dirty, small black contact marks from prior labels and small remedial infill to one- possibly remounted. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
HENRI VIAN (1858-1904)- A PAIR OF GILT BRONZE THREE BRANCH WALL LIGHTS FRENCH, LATE 19TH/EARLY 20TH CENTURY Ribbon surmounts above stiff leaf and scrolling foliage, each signed to cast 83cm high overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some rubbing and wear to gilding from use. These have been wired once before with drilled holes- current wiring runs inside. Small repair to one lower ribbon section 38cm wide across the arms 25cm deep ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A GILT BRONZE FIGURE OF SEATED WOMAN FRENCH, MID/LATE 19TH CENTURY Depicted seated, holding a tambourine with dancing goat, unsigned 25.5cm high Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. the whole dirty- some rubbing and slight stress fault to her right wrist- contact marks to her raised left fingers 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A NAPOLEON III ORMOLU-MOUNTED PATINATED BRONZE CENTRE TABLE THIRD QUARTER 19TH CENTURY The circular Nero Antico marble top with a moulded edge above a frieze with foliate guilloche and Greek key borders and mask panels, supported by standing female figures on a beaded, triform platform centered by a vase with flambe finial, rams heads and garlands, on foliate toupie feet, the marble top cracked and with old repairs 80cm high, 90cm diameter Condition Report: Overall in good condition with dents marks and scratches consistent with age and use. The marble top with some fine cracks and old repairs, some minute losses along the cracks. The patinated bronze or even colour throughout and very minor wear, the ormolu likewise. The table is slightly top heavy on the base so unlikely to withstand excessively heavy use. Condition Report Disclaimer
AFTER ARTHUR WAAGEN- BRONZE OF A DOG WITH A BALL LATE 19TH CENTURY Signed to cast 23cm wide, 15cm high Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Patina heavily worn to front of plinth base and top of ball. Some other rubbing from handling to haunches, sides and top of head. Has loop to collar which may be original but slightly loose. Plaster to base- covering almost completely gone Please see additional images for visual references to condition which form part of this condition report.Condition Report Disclaimer
AFTER ANTOINE COYSEVOX (1640-1720), A SUBSTANTIAL AND IMPRESSIVE PAIR OF BRONZE FIGURES OF 'MERCURE ET LA RENOMMÉE- MONTÉE SUR PÉGASE' CAST BY EUGENE CORNU, MID 19TH CENTURY Fame (Renommee), wearing a laurel wreath and holding an olive branch, blowing the Trumpet Of Truth proclaim Louis XIV's warlike strength, with trophies below including a shield with winged Victory holding a palm and crown, Mercury, the divine messenger and god of trade, symbolizing a return to peace, trophies below with shield decorated with Minerva, Goddess of War, on French Rouge de Languedoc marble bases, trace of signature P G*** and date possibly 183* to one cast base, each with foundry and retailer inscription for Eug Cornu, Paris, presented on modern faux marble presentation stands with inset lights bronzes approximately 111cm high marble bases 15cm high, 81.5cm wide, 33.5cm deep modern stands 38cm high, 105cm wide, 56cm deep approximately 164cm high overall Provenance: Purchased from Serge Mazières Antiquaire, Nice, February 1993 This substantial and impressive pair of equestrian bronzes are after the famous marble equestrian sculptures by Antoine Coysevox (1640-1720) portraying Renommée and Mercury, each seated upon the mythological winged horse Pegasus. After the signing of the Treaty of Ryswick in 1697 Louis XIV tasked his Superintendent of Buildings, Jules Hardouin-Mansart, to commission appropriate and imposing statuary for the park at the Château de Marly. Coysevox was chosen to create two equestrian groups emblematic of Louis XIV's prestige in both times of war and peace. The original Carrara marble figures were commissioned by Louis XIV in 1699 and delivered in 1701-2 when they were placed on either side of the upper part of the horse pond at the entrance to the Parc de Marly. In 1719 they were moved to the Western terrace in the Tuileries Garden and are now exhibited in the Musée du Louvre, Paris. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. FIGURES The patina original but with wear from handling, dusting and age. Traces of gilded surface to flesh of figures and horses- most evident under stronger light. The reverse of each- which is less accessible to everyday handling and dusting- dirtier and with some surface build up of detritus from exposure. Both with some scratches and wear to plinth bases. Some surface marks, abrasions and scuffs from handling. Trumpet, reins and caduceus look both be original to the pieces although the caduceus is cast slightly thicker and less refined. Visible cast joints. Generally stable and with little or no moment. Male with some verdigris build up to recessed areas. Both with some surface streaking. bronzes approximately 111cm high marble bases 15cm high, 81.5cm wide, 33.5cm deep modern stands 38cm high, 105cm wide, 56cm deep approximately 164cm high overall Each equestrian figure is approximately 140-180KG. These will require specialist, careful courier/transport and collection. BASES Marble bases are a supporting frame, just edge panels- no marble inset top. Both have edge and corner chips. Wooden bases with wear from handling, footfall and domestic use. These are PART wired for electricity but are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A SUBSTANTIAL PAIR OF GILT BRONZE SIX LIGHT CANDELABRA AFTER FRANÇOIS REMOND BY ALFRED BEURDELEY, LATE 19TH CENTURY Each with Classical female figure supporting a basket of fruit on her head and scroll branches chased with leaves, standing upon Bleu Turquin marble plinths with gilt bronze mounts, some interiors of sconces incised "BY" 97.5cm high, bases 19.5cm wide Alfred-Emmanuel-Louis Beurdeley (1847-1919) was the third and last of the Beurdeley dynasty, suppliers and makers of the highest calibre furniture and decorative objects in Paris in the 19th century. Building on the success of his father and grandfather he won a gold medal at the 1878 Paris Great Exhibition and was honoured with the Chevalier de la Légion d'Honneur in 1883. A pair of candlesticks of this form attributed to Remond are held in the Toledo Museum of Art, Ohio. It is recorded that François Remond (1747-1812) sold a similar pair of candelabra to the Duke de Penthiève on August 16 1785 for 3.400 livres. On December 24th of the same year another similar pair sold to Princes Kinsky for 2.200 livres. For a comparable pair of candlesticks please see Artcurial Paris, 16 December 2019, lot 37 (sold €54,600 EUR) Literature: M.F. Dupuy-Baylet, L'Heure, Le Feu, La Lumière, Les Bronzes Du Mobilier National 1800-1870, Éditions Faton, Dijon, 2010, pp. 90-91, n. 40. J.P. Samoyault, Pendules Et Bronzes D'ameublement Entrés Sous Le Premier Empire, RMN, 1989, p. 155, n. 132. Condition Report: Saleroom Notice A SUBSTANTIAL PAIR OF GILT BRONZE SIX LIGHT CANDELABRA AFTER FRANÇOIS REMOND BY ALFRED BEURDELEY, LATE 19TH CENTURY Examination of these for condition reports has revealed that interiors to some of the sconces have BY incised to the cast- hidden from view. There are no clearly visible signs of these having been wired- nozzles currently have modern plastic inserts for use with candles Some wear and surface marks throughout- notably to raised elements. Gilding and surface with scuffs and wear- notably around branches, bobeches and with numerous wax deposits from candle use. The candle branches set slightly asymmetrically with 2 slightly higher branches. Some looseness to these branches and with some later nuts hidden to interior- will possibly benefit from further remedial tightening and fixing on place. Some wear to turquin base edges and corners. One marble plinth base with old repair. Both with some corner chips and losses. . 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AFTER MATHURIN MOREAU (1822-1912)- A BRONZE FIGURAL GROUP OF A YOUNG WOMAN AND BIRD SUSSE FOUNDRY CAST, MID/LATE 19TH CENTURY Signed to cast and with foundry marks for Susse Frères, on circular revolving socle 61cm high overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Traces of original reddish gilded surface visible to flesh areas but dirty, rubbed from handling with wear to patina notably to raised areas- dirt to recesses. Slightly wobbly on turning base. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A PAIR OF GILT BRONZE FIGURES OF LIONS ATTACKING SNAKES FRENCH, MID/EARLY 19TH CENTURY Loosely after a design by Barye, each depicted seated on rectangular stepped plinths applied with a shell flanked by cornucopia, probably originally original chenets and now fitted as table lamps and shades Bases 36cm by 26cm, 69cm high overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- formerly chenets- converted and regilded and fitted as lamps. Wear and marks to gilding- some of which may clean off Bases - to top of lions 36cm, plinths 26cm by 17.5cm, 69cm high overall including shades Shades with domestic wear and marking Sold with a 2024 portable appliance test (PAT) certificate 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
[HITLER ADOLF]: (1889-1945) Fuhrer of the Third Reich 1933-45 & [MEISSNER OTTO] (1880-1953) German civil servant, head of the Office of the President of Germany 1920-45. D.S. in facsimile by both Hitler and Meissner, one page, 4to, Berlin, 1st October 1939, in German. The partially printed document, completed in typescript, awards the bronze medal of Ehrenkreuzes der Deutschen Mutter (German Mother´s Cross of Honour) to Elisabeth Killius of Nonnenweier (i.e. Schwanau, Baden-Wurttemberg). The printed facsimile signatures of Hitler and Meissner appear at the foot of the document alongside a circular blind embossed seal featuring the Nazi eagle and swastika. Some light creasing and minor age wear, otherwise VG
Military Pageant (Jacklex), a Boxed Group of "Military Figures of the Bronze Age" Figures Sets. Includes: '1st Regt. Foot Guards 1690', 'Duke of York & Albany's Maritime Regt. of Foot', 'Col. Zachariah Tiffins Regt. of Foot 1689' & 'Col. Francis Lutterell Regt. of Foot 1688'. Condition appears Excellent to Near Mint within Excellent Boxes. See Photo.
Large wall-mounted cartel and its console inlaid with scales and brass, bronze applications with plant motifs, volutes in palmettes, enamelled dial signed Jolly in Paris, the whole surmounted by an angel with trumpet. Wear from use and age. - Weight: 20.00 kg - Shipping unavailable - Region: France - Sizes: H 1500MM X L 540MM
Chinese silver inlaid bronze weight, probably Western Han Dynasty, modelled as a recumbent bird, its head turned and resting upon its back, the details incised with traces of silver inlay, H4cm L6.5cmCondition Report: General wear commensurate with age and use, including scratches, scuffs and wear and losses to silver inlay, as well as dirt in carving recesses.
Bronze figure group, modelled as two classical figures, the male with infant upon shoulders holding flute aloft, and infant stood behind maiden holding cymbal aloft, upon circular base, and circular marble plinth, H35cmCondition Report: General wear commensurate with age, including some scratches and wear to patina, particularly at high points.Marble base with some small losses to edge.
Late 19th century bronze jardinière, the planter of shaped ovoid form decorated with rose heads upon a naturalistic base modelled as overlaid branches detailed with rose buds, flanked by two putto supporting the planter with outstretched arms, the whole upon a rectangular canted base, overall H38cm W45cm D19cmCondition Report:General wear commensurate with age, including surface scratches and some deeper scratches and scuffs, and general wear to patina.
Pair of 19th century Sevres style gilt bronze mounted urns, each porcelain urn with twin gilt bronze mask ring handles, painted with shaped reserves of classical figures and putti upon a bleu celeste ground, upon a conforming blue celeste porcelain column and gilt bronze plinth with inset porcelain panels and four compressed bun feet, H23.5cm Condition Report: General wear commensurate with age and use, including scratches and wear to gilt decoration on porcelain, and wear to gilt finish on bronze (possibly re-gilded at some stage).Porcelain panels inset to plinth with some losses, but not visible unless urns inspected from beneath.
Bronze figure in the manner of Louis-Simon Boizot, modelled as Cupid withdrawing an arrow from his quiver, indistinctly signed, upon circular marble base, overall H25.5cmCondition Report: General wear commensurate with age, predominantly in the form of surface scratches and wear to patina. Bow probably missing string, and cupid possibly missing arrow from hand.Marble base with a number of scuffs and surface losses.
Dimensions: Height 23 cm ; Wide 10 cm ; Depth 7,5 cmWeight: 1078,3 grams Sambandar, the popular seventh-century child saint, is one of the muvar, the three principal saints of South India. Legend recounts that after receiving a gift of milk (represented by the bowl) from the goddess Uma, the infant Sambandar devoted his life to composing hymns in praise of Lord Shiva; his raised hand points to Shiva’s heavenly abode at Mount Kailash, in the Himalayas. The sculptor captured the saint’s childlike quality while also empowering him with the maturity and authority of a spiritual leader. Adorned with beaded jewellery. Sambandar was a Saiva poet-saint of Tamil Nadu (7th century AD). He belonged to a Brahmin family. According to the Hindu tradition Sambandar had a vision of Shiva at age of 3 years. So he is always depicted as a toddler. This bronze statuette from Tamil Nadu (Southast India) is dated to the 12th century, perhaps from the Chola Empire.
Indian Rebellion relics. A silver mounted and etched steel carving set, incorporating a sword blade and fragments of wood, the blade etched TAKEN BY H C WILKINSON AT THE ASSAULT AND CAPTURE OF THE CITY OF KOTAH CENTRAL INDIA IN 1858 or THE HANDLE OF AN INDIAN CORN MILL TAKEN BY H C WILKINSON AT ROWA ON THE 6TH OF JANUARY 1858, the ferrule and crosspiece with etched decoration and inscribed J S W FROM H C W, silver pommels stamped with bovine heads and festoons, 65.5 and 35.5cm l, pommels maker J R, Sheffield, date letter rubbed, cased (2) Provenance: Bosley's Auctioneers, Militaria, 3 July 2019, lot 610 Henry Clement Wilkinson spent his boyhood in the Wilkinson family home at Mount Oswald, Durham, Durham, England. His grandfather Thomas Wilkinson (1752-1825) purchased the large manor house in 1806. Thomas Wilkinson's son Rev. Percival Spearman Wilkinson (1792-1875), the father of Henry, owned the manor house from 1825 to 1875. The family had several servants including a governess. The children were well educated, attending prestigious English universities. Henry's oldest brother, also named Percival Spearman Wilkinson owned the property until his death 1898. Henry Clement Wilkinson spent his working years with the British military. As a youth he attended Sandhurst Royal Military College as a gentleman cadet. To best illustrate his illustrious military career the following article is quoted from 'The Army and Navy Gazette' of Nov 28, 1908: "Lieut.-Gen. Sir Henry Clement Wilkinson, retired, Colonel of the 4th dragoon Guards, died on the 23rd inst. at Kenora, Ontario, Canada, after a weeks illness, aged 71. He was the son of the late Rev. P. S. Wilkinson, of Mount Oswald, County Durham, and obtaining his commission in the army was posted to the 95th Regiment as Ensign Feb. 15, 1856. He served with that regiment during the Indian Mutiny 1857-59, and was present at the assault and capture of Rooyah, the siege of Rowa and Kotah, the battle of Kotah-Ke-Serai, the assault of Gwalior, the siege of Powrie, the battle of Beejapore and the action of Koondrye (medal with clasp). On Aug 5, 1859, he went as Lieutenant to the 17th Regiment, and on March 30 the following year exchanged to the 16th Light Dragoons, subsequently the 16th Lancers, with which he spent the remainder of his regimental service. He was promoted to Captain Sept 22, 1863, Major July 30, 1870, Lieutenant-Colonel July 3, 1872, and Brevet Colonel July 3, 1877, being placed on half-pay July 21, 1877. Wilkinson was only three months on half-pay, as on Oct 13 he became Inspecting Officer of Auxiliary Cavalry, Great Britain, a post he held until March 19, 1880, a week later (March 27) he being appointed Military Secretary to the Commander-in-Chief, East Indies. He left the secretaryship Aug 6, 1880 to command the Cavalry Brigade in the Afghan Campaign in the force under Major-General Phayre and marched from Quetta to the relief of Kandahar (mentioned in dispatch, medal with clasp). At the close of the campaign he was appointed Brigadier-General, Cavalry Brigade, Quetta District, he holding that command from May 23 to Oct 23, 1881. Then Oct to Dec he was in command of a force which operated against the Bozdars (thanked by the Commander- in Chief in India and by the Governor General in Council). On Jan 30 of the following year he was appointed Brigadier-General, Bengal, and took command of the Sialkot Brigade. In August he was selected to take to Egypt the cavalry brigade of the Indian contingent to join Sir Garnet Wolseley's force. He took part in the operations at Kassassin, the reconnaissance before and the battle of Tel-Et-Kebir, the subsequent pursuit and the occupation of Cairo (twice mentioned in dispatches, medal with clasp, bronze star, C. B., 2nd Class of the Medjidich). Returning to India in Oct, he continued to act as Brigadier-General, Bengal, until Jan 30, 1887, when he completed his 5 years, he commanding successively the Saugor and Presidency Districts and the Meerut, Rawal Pindi, and Allahabad Divisions. Promoted to Major General Mar 9, 1887, his next and last appointment was as Major-General, North-Eastern District, which he held from April 1, 1891 to Sept 30, 1894., having while at last post been granted a Distinguished Service Reward April 1, 1892 and promoted to Lieutenant-General May 26, 1894. General Wilkinson was appointed to the Coloneley of the 4th Dragoon Guard Oct 4th, 1896 and retired Oct 1, 1899. He was awarded the K. C. B. June 22, 1897." Wear consistent with age. Wood handles with minor shrinkage cracks. Lid of case detached with old adhesive tape repairs, now perished. Red cloth lining moth holed
Fabulous long elegant strand of faux bronze color pearls. The strand is long enough to double or even triple. The pearls are individually knotted. The clip back earrings are the same color faux baroque cabochon pearls with a hammered gold tone surround. Earring backstamp CAROLEE. Necklace: 72"L. Pearl: 10mm. Earring: 1.17" dia. Issued: 20th centuryManufacturer: CaroleeCountry of Origin: United StatesCondition: Age related wear.
Four various cold cast bronze figures of animals including "Owl", "Fox", "Pair of Otters" and "Pair of Birds" CONDITION REPORTS The Lapwing figure has now been withdrawn. The owl figure has a chip bottom, left, remaining figures appear in good condition. General wear and tear conducive to age and use. See images for more details.
A neoclassical bronze and gilt bronze table lamp 19/20th century, the fluted column on a triform paw base and patinated platform base20cm wide20cm deep71cm highCondition Reporttarnishing, wear and pitting to the ormolu elements, light knocks and wear, overall fair order for age and use.PAT failed 13.9.24.
A Japanese cloisonné on bronze figure of a dog, Meiji period, the animal standing four-square with its head slightly raised, 21.5cm highNo obvious signs of damage (cracks/chips/losses) Vertical crease within bronze to one side behind front leg, some pitting to enamels, possible repair around tail (surface texture looks different) Surface wear in line with age and usage
An Asian or Middle Eastern bronze vase and cover, 38.5cm high, a circular bronze bowl, 25cm diameter and Qajar pottery vase, 11.5cm high (3)Pottery vase - crack running down from the rim to base and another smaller crack the other side Bronze bowl - tarnished, signs of use Bronze vase and cover - general wear from age
A 19th Century Victorian gentleman's Masonic / Memento Mori sword stick with concealed blade. Bronze ' death head ' pommel and a diamond section blade housed in a varnished wooden scabbard with an etched silver band. Measures approx If this lot is required to be posted please see sale notes regarding age verification.
Splendid antique Art Nouveau gilt patina finish bronze made in the lost-wax casting method by French sculptor Emile Francois Chatrousse. Entitled La Lecture/ La Liseuse (Reading), it was exhibited at the 1880 official Paris Salon (Palais des Champs Elysees) where the French government purchased the sculpture for its collections. Signature on lower right of rock: Chatrousse. Foundry mark: Jollet & Cie Bronzes Paris. Weight: 75.6 lbs. Artist: Emile Francois Chatrousse (French 1829-1896)Issued: c. 1880Dimensions: 14"L x 12"W x 25"HCountry of Origin: FranceCondition: Age related wear.
1960s Brutalist school - untitled, bronze with dark brown patina, naturalistically modelled as layered square tapering sections, to painted wood square base, unsigned, overall h.44cmGeneral surface grubbiness and light age related wear to patina.Bronze stands on a slight slant.Base rather poorly and cheaply constructed.Overall good and decorative.
A JAPANESE KATANA The smith-made blade with Midare Hamon and measuring approx. 74cm in length, the tang signed, the tsuka having white shagreen grip beneath black ito cloth wrap, gilt bronze mounts throughout, the fuchi with depictions of mice or rats, the whole measuring approx. 103cm in length Condition Report:"The bronze mounts we believe to be 19th century. As we have been unable to decipher the signature to the tang, we are not able to comment on the age of the blade.Blade is tarnished/marked throughout, with spots of surface rust. Cutting edge is largely undamaged, save for a small nick towards the tip. No apparent bending. Rust evident on tang. Tsuba with widespread surface rust. Tsuba is magnetic. Mekugi is lacking. Ito wrap is well worn through handling. Shagreen grip somewhat dulled/discoloured. Saya cap is badly rusted. One significant loss to the lacquer, leaving the exposed edges very delicate. Cracks and small chips elsewhere. General wear and surface dirt through handling."
A German Silver Dish, by M. H. Wilkens and Sohne, Bremen, Second Half 20th Century, 835 Standard square and with gadrooned rim, engraved with a German inscription31cm square, 24oz 4dwt, 753grThe German inscription reads ‘Der Siegerin im Damen-Einzel des Tischtennis-Wettbewerbs bei den Internationalen Stoke Mandeville-Spielen gegeben vom Hauptverband der gebwerblichen Berufsgenossenschaften Bundesrepublik Deutschland Klasse C’ relates to the women’s singles table tennis competition, C class, at the International Stoke Mandeville games. Baroness Masham of Ilton won medals at the games in Rome in 1960, Tokyo in 1964 and Tel Aviv in 1968, though each of her medals was given in the doubles competition B class, bronze, gold and silver respectively.Marked underneath with maker's mark and with crown and moon standard mark. Further numbered '8017; and stamped '835'. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use.
Large candid portrait of General Kenneth P. McNaughton seated in a wood paneled room next to American Flag. Silver gelatin print. Handwritten text reads, " To: Sergeant Walter Gray, with best wishes Gen. KPM McNaughton. At the end of Gen. MnNaughton's career, his decorations included Legion of Merit with oak leaf cluster, Bronze Star Medal, Distinguished Service Medal, and the Order of the British Empire (Honorary Commander). Dimensions: 11"W x 14"HCountry of Origin: United StatesCondition: Age related wear.
A RARE FRENCH ROBERT-HOUDIN FIRST SERIES MYSTERY TIMEPIECE OR 'PENDULE MYSTERIEUSE'JEAN EUGENE ROBERT-HOUDIN, PARIS, CIRCA 1840The circular eight-day countwheel bell striking back-wound movement with anchor escapement for regulation by a pendulum swinging in front of the movement, the backplate with central pinwheel contrate take-off for the vertical arbor driving the dial motionwork above, together with visible strike detents and signed ROBERT HOUDIN, PARIS, contained within an ogee-shaped plinth-form case applied with a gilt mount cast with a putto within foliate scrollwork to fascia over skirt base with repeating lozenge cast cavetto top moulding and scallop shell centred scroll cast apron terminating with scroll volute side supports, the rear with fixed back panel incorporating regulation square over winding holes, the surmount cast as a fanciful chimera issuing a leafy scroll upright supporting the 3.5 inch white enamel Roman numeral dial from behind, with steel moon hands within repeating foliate scroll cast bezel, on original ebonised ogee-shaped plinth with leaf moulded skirt and cut with a slot to allow for the swing of a pendulum to top surface, (lacking pendulum).40cm (15.75ins) high, 18cm (7.25ins) wide, 11cm (4.25ins) deep at the plinth. Provenance:From the personal collection of the late Paul Daniels (1938-2016), magician, illusionist and television personality. Jean Eugene Robert-Houdin was born in Blois 1805 and trained a clockmaker under his father, Prosper Robert. In 1830 he married into the famous Houdin family of clockmakers hence added Houdin with a hyphen (after Robert) to his name. He moved to Paris and worked from 63 rue de Temple and, with a strong interest in illusion, he worked on developing a series of timepieces where the motion of the hands on the dial appear detached from any form of driving mechanism of movement. He first exhibited his timepieces at the 1839 French Industry and Universal Exhibition where he was awarded the first of many bronze, silver and gold medals obtained through successive exhibitions held in 1844, 1855 and 1859.During the 1840's Robert-Houdon's success was such that he was able to relocate to larger premises at 13 rue Vendome where he continued to develop his mystery timepieces as well as take an increasing interest in automata which he exhibited at the 1844 exhibition to great acclaim. In addition to being a talented and inventive maker of clocks and automata Robert-Houdin also had great stage presence. He opened his own conjuring theatre at 14 Galerie de Valois at the Palais Royal and, on 3rd July 1845, he premiered the first of his four 'Soirees Fantastiques' where he paraded a host of mechanical marvels that would respond to his voice, obeying the commands that spectators would suggest. His fame was such that in 1848 he travelled to London to perform at the St. James's Theatre, and also before Queen Victoria, who extended a personal invitation to have him perform at Buckingham Palace.During the 1850's Robert-Houdin developed an interest in electrical horology filing a patent for an electric master clock in 1855, as well as exhibiting alongside Maison Destouche at the Universal Exhibition that year. It is, however, Robert-Houdin's contribution to illusion and magic for which he is best remembered. He was the first illusionist to utilise technology in magic and is considered to be one of France's most famous magicians writing many books on the subject. After his death in 1871, is legacy is such, that he has by many, been considered the father of modern magic. The present lot belongs to Robert-Houdin's first series of mystery timepieces developed during the late 1830's with the illusion being the apparent lack of visible motive force for the dial. Condition Report: Movement is essentially in working condition as in the escapement will beat and the clock will sound the hour on the bell, however there is no pendulum present. The movement itself is a little discoloured/dirty hence a precautionary clean/service is advisable, and adjustment will probably be required. The drive to the dial is complete and working hence the hands move with the motion of the movement. The enamel dial panel appears to be in fine condition with no cracks or chips visible with the naked eye. The gilding has mellowed a little with some spots of discolouration/oxidation. The cast upright has some Verdigris within the patination and the sides (with patinated finish) have at some point been lacquered which is now breaking down resulting in unevenness within the finish. The rear panel for the movement may be a well-made replacement. Otherwise faults are essentially limited to patches of spotting/discolouration. The ebonised stand is in good condition with only light wear/rubbing and age-related degradation to the velvet top surface.There is no pendulum or key present with the clock. Condition Report Disclaimer
A FRENCH ROBERT-HOUDIN SECOND SERIES MYSTERY TIMEPIECE OR 'PENDULE MYSTERIEUSE'JEAN EUGENE ROBERT-HOUDIN, PARIS, MID 19th CENTURYThe circular eight-day countwheel bell striking back-wound movement with anchor escapement for regulation by a pendulum swinging in front of the movement, the backplate with central pinwheel contrate take-off for the vertical arbor driving the dial motionwork above, together with visible strike detents and signed ROBERT HOUDIN, PARIS, contained within an ogee-shaped plinth-form case applied with a gilt mount cast with a pair of winged putti over leafy sprays to fascia, over skirt base with repeating lozenge cast cavetto top moulding and scroll cast apron terminating with gadrooned sides, the rear with fixed back panel incorporating regulation and hand-setting squares and stamped with oval BREVET, D'INVITATION over winding holes, the surmount with a foliate cast gilt pedestal applied with side scrolls and issuing a pair of splayed leafy brackets supporting the 4.5 inch circular clear glass Roman numeral dial signed ROBERT-HOUDIN to centre and with single gilt arrow hand set within slender gilt ring surround, on original shaped giltwood plinth applied with rococo scrollwork and cut with a slot to allow for the swing of a pendulum to top surface, (pendulum lacking).42cm (16.5ins) high, 17.5cm (7.ins) wide, 11cm (4.25ins) deep at the plinth. Provenance:From the personal collection of the late Paul Daniels (1938-2016), magician, illusionist and television personality. Jean Eugene Robert-Houdin was born in Blois 1805 and trained a clockmaker under his father, Prosper Robert. In 1830 he married into the famous Houdin family of clockmakers hence added Houdin with a hyphen (after Robert) to his name. He moved to Paris and worked from 63 rue de Temple and, with a strong interest in illusion, he worked on developing a series of timepieces where the motion of the hands on the dial appear detached from any form of driving mechanism of movement. He first exhibited his timepieces at the 1839 French Industry and Universal Exhibition where he was awarded the first of many bronze, silver and gold medals obtained through successive exhibitions held in 1844, 1855 and 1859.During the 1840's Robert-Houdon's success was such that he was able to relocate to larger premises at 13 rue Vendome where he continued to develop his mystery timepieces as well as take an increasing interest in automata which he exhibited at the 1844 exhibition to great acclaim. In addition to being a talented and inventive maker of clocks and automata Robert-Houdin also had great stage presence. He opened his own conjuring theatre at 14 Galerie de Valois at the Palais Royal and, on 3rd July 1845, he premiered the first of his four 'Soirees Fantastiques' where he paraded a host of mechanical marvels that would respond to his voice, obeying the commands that spectators would suggest. His fame was such that in 1848 he travelled to London to perform at the St. James's Theatre, and also before Queen Victoria, who extended a personal invitation to have him perform at Buckingham Palace.During the 1850's Robert-Houdin developed an interest in electrical horology filing a patent for an electric master clock in 1855, as well as exhibiting alongside Maison Destouche at the Universal Exhibition that year. It is, however, Robert-Houdin's contribution to illusion and magic for which he is best remembered. He was the first illusionist to utilise technology in magic and is considered to be one of France's most famous magicians writing many books on the subject. After his death in 1871, is legacy is such, that he has by many, been considered the father of modern magic. The present lot belongs to Robert-Houdin's 'second series' developed in around 1840 with the illusion being the mystery as to what causes the hand to move whilst 'floating' in the middle of a glass dial with no apparent connection to a movement or motionwork. The timepiece operates by having the hand fixed to a second glass plate set behind the dial, which revolves through mechanical connection via the pair of foliate supports supporting the dial assembly. Condition Report: Movement is essentially in working condition as in the escapement will beat and the hammer for the hour bell will operate, however there is no pendulum present. The linkages to drive the dial are present however the fitment of the dial assembly is a little loose hence there are alignment issues causing the drive for the dial to be unreliable. As nothing appears to be obviously broken or missing it is most likely that drive can be made reliable through adjustment to the fitment of the dial assembly. The movement itself is a little discoloured/dirty hence a precautionary clean/service is advisable, and adjustment will probably be required. The dial assembly is in good condition with no visible chips to the glass or noticeable wear. The gilding has mellowed a little with some spots of discolouration/oxidation and the areas with patinated finish have some patches of spotting/discolouration. The giltwood stand is in good condition with only light wear/rubbing and age-related degradation to the velvet top surface.There is no pendulum or key present with the clock. Condition Report Disclaimer
Pair: Chief Constable W. B. Jones, Ramsgate Constabulary, late Grantham Constabulary Coronation 1911, County and Borough Police (W. B. Jones, Chief Constable. Ramsgate.); Grantham Constabulary, Diamond Jubilee Medal, V.R., silver (W. B. Jones, Chief Constable. 1897.) good very fine and better (2) £120-£160 --- William Benjamin Jones was born in Upper Llanvrechva, Monmouthshire, around 1867. The Western Mail of 23 January 1899, notes: ‘Mr. W. B. Jones, who has recently been appointed Chief-Constable of Ramsgate, is a native of Monmouthshire, and at one time was engaged in journalistic work on behalf of the “Western Mail”. Born in 1857 [sic], he was educated, primarily, at a well-known public school at his birthplace, and at the age of ten was fortunate enough to come under the tutelage of the Rev. D. Thomas, the principal master in classics and mathematics at the Baptist College. Developing a strong liking for police work, and a shorthand clerk being required in the Chief Constable’s office in the city of York, Mr. Jones was selected to fill the vacancy. During his career in the ancient city, he occasionally assisted in the work of the detective department, and in October, 1897, he had the gratification of being one of the selected candidates for the office of Chief Constable of the city. After twelve months at York, he was appointed Sergeant and chief clerk in the Gravesend police force, and was quickly promoted to the rank of inspector. Upon leaving Gravesend to become the Chief Constable of Grantham he was the recipient of some valuable presents.’ Furnished with an impressive bronze clock, Jones was later named by the East Kent Times and Mail as the recipient of a silver medal ‘for the services rendered by the Chief Constable and the police during the Diamond Jubilee festivities’. The following year, Jones was unanimously selected from amongst 80 applicants for the position of Chief Constable of the borough of Ramsgate at a rate of £250 per annum. He retired from the position in July 1916 and relocated with his wife to Paignton in Devon.
One-of-a-kind maquette featuring the 1929 Graf Zeppelin (over 3 feet long) that is set in a panoramic size custom made wooden box. This exceptional zeppelin replica is made of wooden ribs filled and covered with the silvery tone of the original while the gondola, propellers and fins are made of metal. Two airplanes flank the fins: on the upper left, one blue German Fokker DVII bi-plane and on the lower part, one Supermarine British Spitfire single-seat fighter P3759. A silver Nieuport N1424 airplane flies by the gondola. This awesome Zeppelin floats above a small American town. The wooden box opens on the left and right to reveal an authentic air mail letter with Graf Zeppelin stamps and Lakehurst NJ address above a 50th anniversary commemorative plaque. An authentic airmail envelop with Graf Zeppelin stamp dated October 7, 1933, sent from Chicago to Friedrichshafen, Germany sits above a commemorative plaque on the right side. The upper part of the box opens to reveal a mirrored plaque on which white letters in relief spell LZ 127 Graf Zeppelin. On its right, a Lucite plaque includes two silver medals: one 1929 dedicated to the World Flight and one 1979 commemorating the 50th anniversary of the Zeppelin. In between, a bronze color plaque depicts the relief portrait of Ferdinand von Zeppelin with the date GEB 1838. The opposite Lucite commemorative plaque includes facts and dates of this marvel of engineering. The exterior of the wooden box boasts carved wood German Imperial eagles (Reichsadler) on each side and the front and back panels are flanked by large solid wood zeppelins. Zeppelin size: 40"L x 5.50"H x 5.50"W. Box dimensions (closed): 47"L x 14"H x 12"W. Issued: c. 1980Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
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