Mackenzie Thorpe There's Nana, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in the late 1950's into humble beginnings, that era's customary career path was in the shipyards and industry of the area and upon leaving school at 15, Mackenzie Thorpe followed this predetermined path. Unhappy and feeling like a fish out of water, he kept creating, until his passion for drawing compelled him to forge his own path. Against all the odds he gained a place at his local art college before completing a degree in fine art in London in 1982. In 1989 he opened a gallery in Richmond, North Yorkshire and eventually his work (and popularity) went from strength to strength, his work being championed by William Hague MP. In the mid 1990's, he was signed up by an American art publisher who helped launch him in the United States, Japan, Australia, and New Zealand. Since then, he has continued to create distinctive artwork and exhibits both in the UK and internationally. In recent years Mackenzie has devoted time to developing bronze sculpture, with these unique and distinctive pieces now enhancing private gardens and homes, with larger scale works being commissioned for international businesses and hospitals. He is currently developing new work for an exhibition in 2024, at the Umm El Fahem Gallery in Israel which is aimed at uniting the diverse cultural and social relationships in this area. Commenting he said, 'as a British man I'm honoured to have been invited to exhibit at this prestigious gallery which aims to build peace and tolerance through art. It feels like a huge responsibility but using art as a kind of third language, as I do, allows my art to connect to people irrespective of age, gender, nationality, race etc, so whilst it is a challenge, I am excited'. Education Byam Shaw School of Art, BA fine art, London, UK 1979 -1982 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Mackenzie Thorpe What Ever It Takes, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in the late 1950's into humble beginnings, that era's customary career path was in the shipyards and industry of the area and upon leaving school at 15, Mackenzie Thorpe followed this predetermined path. Unhappy and feeling like a fish out of water, he kept creating, until his passion for drawing compelled him to forge his own path. Against all the odds he gained a place at his local art college before completing a degree in fine art in London in 1982. In 1989 he opened a gallery in Richmond, North Yorkshire and eventually his work (and popularity) went from strength to strength, his work being championed by William Hague MP. In the mid 1990's, he was signed up by an American art publisher who helped launch him in the United States, Japan, Australia, and New Zealand. Since then, he has continued to create distinctive artwork and exhibits both in the UK and internationally. In recent years Mackenzie has devoted time to developing bronze sculpture, with these unique and distinctive pieces now enhancing private gardens and homes, with larger scale works being commissioned for international businesses and hospitals. He is currently developing new work for an exhibition in 2024, at the Umm El Fahem Gallery in Israel which is aimed at uniting the diverse cultural and social relationships in this area. Commenting he said, 'as a British man I'm honoured to have been invited to exhibit at this prestigious gallery which aims to build peace and tolerance through art. It feels like a huge responsibility but using art as a kind of third language, as I do, allows my art to connect to people irrespective of age, gender, nationality, race etc, so whilst it is a challenge, I am excited'. Education Byam Shaw School of Art, BA fine art, London, UK 1979 -1982 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
CHINESE BRONZE MINIATURE BRONZE GOLD SPLASHED CENSER, QING DYNASTY with pierced cover and four character mark in oracle bone script to base4.5cm diameterWear to the bronze on several sections of the body. Light Wear to inside and rim and underside of lid, consistent with age. Additional images now available.
* Schneider Trophy. Supermarine Racing Seaplane Car Mascot, circa 1931, an original example of the famous RAF S6B winner of the 1931 event thereby taking the coveted trophy outright, chrome-plated bronze with good detail, incised markings, and rotating propeller, shows minor age-wear from previous fitting to a motorcar, wingspan 15 cm QTY: (1)
Great War Bronze Memorial Plaque 1st Battalion South Wales Borderers 1917 Casualty, awarded to ‘GEORGE ALFRED BYE’, generally good condition. 44368 Private George Alfred Bye, 1st Battalion South Wales Borderers who was reported missing in action, presumed killed on 10th November 1917 at the age of 36. Originally from Brightlingsea, Essex he is remembered on the Tyne Cot Memorial, Belgium. Also entitled to a British War and Victory medal.
AFTER GUILLAUME COUSTOU THE ELDER (1677-1746): A PAIR OF PATINATED BRONZE MODELS OF THE MARLY HORSES (2)Early 20th Century Each on integrated bases, 61.5cm highCondition report: The two front legs of one horse are slightly separating and require repair / restoration Signs of previous old repair with solder to the gap. Both lacking reins. Some areas of heavier oxidization with spots of rust in areas. The surface is generally varied with green - grey areas and rubbing wear and dirt and general exposure to the elements having previously been living outside. One with concrete to the underside. Otherwise, inevitable scuffs, scratches, dents and marks commensurate with wear, use and age.
ROBERT GLEN (American, b. 1940) limited edition (4/6) bronze - camels drinking from a trough, signed and dated 1986, 39h x 48w x 31.5cms d, on black marble plinth.Provenance: private collection PembrokeshireAuctioneer's Note: Born in Kenya in 1940, Robert Glen’s interest in art and natural history began at an early age. At sixteen years old, he was accepted to serve an apprenticeship in taxidermy at the renowned studio of Coloman Jonas in Denver, Colorado. It was then that his interest in sculpture was born. Returning home after three years of training, he began a transition from taxidermy to sculpting animals in the European tradition of animaliers, working in various media before casting his first bronze in 1970. Since then, Robert Glen’s work has met with great success. His sculptures reside in many private collections including those of the late Queen, the Aga Khan, and the late Kenyan President Jomo Kenyatta. He has also held many one man shows in the USA, Canada, UK, Monte Carlo, Spain and South Africa. Robert Glen's public commissions include one of the largest equestrian sculptures in history, 'Mustangs of Las Colinas', in Texas.Comments: natural verdigris patina, very good overall.
A small fine Transitional ormolu mounted tulipwood, purplewood, fruitwood and marquetry breakfront commodeMade by Pierre Macret, third quarter 18th century The brèche violette marble top above two drawers sans traverse simulating three drawers inlaid with flowering branches, the canted angles with gilt bronze filled fluting headed by neoclassical chutes and rosettes, on square tapering legs and sabots, bearing three stamps for ..MACRET, together with traces of a fourth obliterated stamp, 84cm wide x 44.5cm deep x 89cm high, (33in wide x 17.5in deep x 35in high)Footnotes:ProvenanceChristie's, London, 12 December 1985, lot 149;Bernard Baruch Steinitz, Paris. LiteraturePierre Kjellberg, Le Mobilier Français Du XVIIIe Siècle, 1989, ill. p. 541.Pierre Macret, ébéniste suivant la Cour from 1756.Macret was born in 1727, married at the age of 20 and in December 1756 became marchand-ébéniste privilégié du Roi suivant la cour et conseils de sa majesté, replacing the widow of Latz. The records of the marchand-mercier Lazare Duvaux reveal a debt of 1169 livres to Macret by December 1758. At the same time he worked with the marchand Darnault. Newspaper advertisements reveal that he worked in the rue Saint Honoré in the hotel d'Auvergne, close to Saint-Roch, in 1763. The marquis de Marigny, Directeur des Bâtiments, bought 1890 livres worth of furniture from him in 1770. In 1771 Macret changed his status and became marchand-mercier in Paris. He was fournisseur ordinaire des menus-plaisirs du Roi from 1764 to 1771. In accordance with his new status he chose a more comfortable house in the rue Saint-Honoré, in April 1772. It was a strategic choice, his new home being close to Dulac, Poirier and Granchez, which furthered his business. Shortly before 1772 he delivered 1222 livres worth of furniture to the Dauphine Marie-Antoinette, and the marquis de Monconseil, father of princesse d'Henin, had ordered furniture valued at 4690 livres.Macret's works are exhibited in many museums including the Nissim de Camondo, Paris; the Château de Versailles; the Cleveland Museum of Art; Hillwood House, Washington D.C. and The Metropolitan Museum of Art, New York.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An important Louis XIV ormolu mounted ebony, fruitwood, sycamore, boxwood and bone inlaid floral marquetry large bureauMost probably by Renaud or Aubertin Gaudron, circa 1690-1700The black embossed leather writing surface enclosed by a profusely inlaid border including grotesque masks, birds, flowers and insects above a central frieze drawer flanked by four drawers with conforming inlay and with bone florettes flanking the ormolu escutcheons, and opposing dummy drawers on eight cabriole legs and gilt bronze cloven hoof sabots, the sides inlaid with floral filled baskets, sold together with the book, Chefs d'Oeuvre des Marqueteurs by Pierre Ramond which discusses the bureau plat in great detail, 180cm wide x 80.5cm deep x 78.5cm high, (70.5in wide x 31 1/2in deep x 30 1/2in high)Footnotes:ProvenanceGalerie G. Sarti, Paris;Salomon Stodel, Amsterdam.LiteraturePierre Ramond, Chefs d'Oeuvre des Marqueteurs, Des Origines à Louis XIV, Paris, 1994, where written up over 3 pages (p.23-25). J.N.Ronfort and J.D.Augarde, Paris, 9 November 1994, Très Exceptionnel Bureau en Marqueterie de FleursAubertin and Renaud GaudronRenaud Gaudron, Menuisier Ebéniste Ordinaire du Roi is the son of Aubertin Gaudron, Maître Menuisier Ebéniste who was working most probably for Philippe, duc d'Orléans, brother of Louis XIV and active from circa 1641. Talented and successful, Renaud Gaudron inherited a flourishing business in 1691. A few years before, in 1686, Renaud Gaudron had already taken over from the deceased Pierre Golle as one of the main suppliers of the Garde-Meuble de la Couronne. In order to fulfil the demand, he was assisted by his brother, Nicolas (Gaudron le Jeune) who was Menuisier-Ebéniste in Versailles, and had a successful workshop. As a contemporary of André-Charles Boulle producing similar marquetry pieces, Aubertin Gaudron (active circa 1670-1700) is intrinsically linked to him in the production of marquetry furniture. Both cabinet-makers were inspired by the rich Dutch floral designs of artists such as Jean-Baptiste Monnoyer and Nicolas Beaudesson, of which André-Charles Boulle owned many studies of flowers and birds.According to a comprehensive study of the present lot by J.N.Ronfort and J.D.Augarde, the authors interestingly mention that Renaud Gaudron would have delivered 28 different floral marquetry pieces of furniture to the Garde-Meuble de la Couronne between 1688 and 1713. This comprised various types of tables, bureaux, commodes and guéridons. Marqueterie de Fleurs au Naturel It is under the influence of Flemish artists that floral marquetry gradually became the most important decorative style used on furniture during the first half of the 17th century. The initiators of this pictorial art were both Pierre Golle and Léonard van der Vinne in Florence. André-Charles Boulle, established in the galeries du Louvre from 1672 soon became the most sought artist of his time. An interesting description of a marquetry commode delivered by Gaudron for the Château de Compiègne relates closely to the present one, described as: 'marqueterie de bois de plusieurs couleurs fond d'ébène orné au milieu d'un vase rempli de fleurs pose sur un bout de table et un masque grotesque au-dessous, le reste rempli de rinceaux, fleurs, oiseaux et papillons au naturel' (AN 01/3308). The grotesque masks can also be seen on a similar commode in the Musée des Arts Décoratifs in Paris (CLUNY 11762), as well as on another commode possibly by Gaudron, sold at Bonhams, London, 9 July 2015, lot 26 (£52,500 inc. premium).The small contrasting inlays flanking the escutcheons of the present lot can also be found on a commode from the Wildenstein Collection, sold at Christie's, London, 14-15 December 2005, lot 115 (£84,000 inc. premium).For an illustrative comparison of a late Louis XIV floral marquetry and ebony commode, see P. Kjellberg, Le Meuble Français et Européen du Moyen Age à nos jours, Paris 1991, p 92.'Bureau à travailler' The term 'bureau' as we interpret it today appears only a few years after the beginning of Louis XIV's reign. Before that, the term applied equally to what we now refer to as commodes. For example, the celebrated commodes which André-Charles Boulle delivered to Louis XIV's bedroom at Trianon in 1708 (now in Versailles) were then called 'bureaux'. Gaudron delivered various commodes which he called 'grandes tables en bureau garnies de trois grands tiroirs' to the Garde-Meuble de la Couronne in 1695, 1697 and 1698. The bureaux as we conceive them today were first described in the 1670s. The celebrated cabinet maker Pierre Gole delivered 'un bureau en cabinet d'ébène à fleurs et pièces de bois de rapport' on 4 February 1671. Another bureau of closely related form with eight legs, was delivered by the cabinet maker Michel Campe in 1674 as per its description in the Journal du Garde-Meuble. It is described as being veneered in floral marquetry against an ebony ground. Our bureau 'à caissons' is particularly important due to its very large size for the period. Only very few similar bureaux at that time measure between 'cinq et six pieds de long' (162 to 194cm). The bone inlay has been examined by Dickie Zebregs from Zebregs&Röell Fine Art and Antiques who has confirmed it is bone and not ivory.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Georgian bronzed silhouette and pearl lace pin, the silhouette portrait, facing right, of a young man with curled hair, high collar and lace cravat, with detailing in bronze paint, mounted in a border of half pearls, the back with glazed panel of plaited brunette hair, pin with C clasp. Length 27mm. 7.33gCondition ReportGenerally good condition for age. There is a little dirt under the glazing of the portrait; also around the base of the pearls.The pearls are not very round, but all have good lustre.The pin is bent and has some free play.
Marvel - The Beano - The Dandy. A selection of Fifty items, predominantly Bronze to Modern age Marvel Comics appearing in VG to FN condition. The Beano comics and Annuals appear to range from FR to GD. Lot to include: Omega The Unknown 10 Oct #02333. The Micronauts #38. Deathlok The Demolisher 33 Apr #02120 and similar. (This does not constitute a guarantee). [MP]
A vintage Art Deco beaded cape, having beige felt ground with blue, bronze and clear beads, fully lined in brown taffeta with mink collar. Collar appears original and the cape appears to be in good condition commensurate with age and use, however it is missing several turquiose coloured beads from the flower heads design.
Impressive, high quality 7-bulb light fixture with an impressive floral shade in vibrant colors with bronze fittings. Well made and great coloring on the glass. Circa 1940s. Â These types of fixtures are often considered vintage or retro, and they can add a unique and elegant touch to a room's decor. The combination of the floral shade and bronze fittings is likely to create a warm and inviting ambiance when the light is illuminated. Such fixtures were crafted with attention to detail and quality, and they are often highly sought after by collectors and enthusiasts of vintage and antique lighting. The craftsmanship and coloring on the glass are key elements that contribute to their impressive aesthetic. Dimensions: 28"W x 48"HCondition: Age related wear.
An 18th Century Dutch colonial cedar trunk or coffer, the plain top opening to reveal a candle box over a plain front formerly with ornate brass escutcheon and ornate brackets flanked by bronze ring handles and ornate pierced brass brackets to the rear 138 cm wide x 58 cm deep x 61.5 cm high CONDITION REPORTS The wood work appears basically sound though the front edge of the top may or may not be a replacement as very different in colour to the remainder. There are stains and burns and dents throughout the piece. Upon opening the lid, it is clear that the upper section of the lock is missing. Right hinge is loose. Left hinge appears intact. The front panel is missing the escutcheon and has had a second lock put in place. The brass ornate metal work is missing to the front right and front left, though the rear brass work is still in place. There are deep dents where the handle ends have caught on the side panels. Rear panel slightly dull in colour though otherwise in reasonable order though with wear and tear conducive with age and use. See images for further detail.
Bronze swan dish designed by Maurice Ascalon (Israeli, 1913-2003). The outside is marbled green and the inside is bronze with a beautiful patina. Pall-Bell Co. stamp on bottom. Artist: Maurice AscalonDimensions: 6.75"L x 3"W x 3.25"HManufacturer: Pall-Bell Co.Country of Origin: IsraelCondition: Age related wear.
A pair of limited edition bronze medallions by Kenneth Treister (American, born 1930). The Moses medallion is marked and numbered on verso: "291/750 Ken Treister 1980". The King David medallion is marked and numbered on verso: 4/750 Ken Treister 1980. Artist: Kenneth TreisterIssued: 1980Dimensions: 4" dia.Condition: Age related wear.
Playful Heart I is a hand embellished giclee by artist Simon Bull who uses bold colors and large brushstrokes to convey universal feelings of love through his use of hearts symbols painted in sweeping reds, green and blue in front of a mosaic pattern of multiple shades of reds. Numbered in pencil on recto: AP 34/50. Signed in gold pen on lower right. Housed in a warm bronze gilded frame with a black border. Sight size: 21.50"L x 21.50"H. Frame size: 29.50"L x 29.50"H x 1"W. Certificate of Authenticity included. Artist: Simon Bull (English-American b. 1958)Issued: 2006Edition Number: Artist's Proof 34 of 50 Country of Origin: England/United StatesCondition: Age related wear.
Sir Jacob Epstein KBE (American/British, 1880-1959). Bronze sculpture titled "Nude Study 'A' (Betty Peters)" depicting a nude woman with her arms outstretched above her head, ca. 1943-45. Betty Peters was one of Epstein's favorite models. She managed a hostel for sailors in London's East End and is represented in numerous works by the artist from bronze and plaster to drawings and watercolors.Height: 28 in x width: 7 in x depth: 3 1/2 in. />Condition: There are no bends, breaks, losses, or restorations to the bronze. There are areas of accumulated dirt and/or dust in the recesses of the work. There are some areas with a verdigris patination. Along the underside of the bronze there are four points with a high polish: one along each heel, one on the back of her hair, and one along the back of her hands. There is a 1 1/2 inch area of discoloration on her buttocks, possibly from a label, now missing. Light wear throughout from age and use.
Adam Henein (Egypt, 1929-2020)The Goat bronzesigned 'A.HENEIN' and numbered 'III/ VIII' on the bottom, number 3 from an edition of 10, executed in 1965 84 x 60cm (33 1/16 x 23 5/8in).Footnotes:Provenance:Property from a private collectionExhibited:Adam Henein Museum, Permanant Collection, Giza (another edition)Published:S. Al-Sharouny, A Museum in a Book: The Farsi Art Collection 'The Egyptian Works' Owned by Dr. Mohammed Said Farsi, Cairo 1998 (illustrated in colour p. 318 and illustrated p. 316 ref. 3/41).M. Khazindar, Adam Henein, Skira, Milan 2005 (another edition illustrated in colour p. 69).An iconic 1960's 'Donkey' sculpture by Adam Henein'In Abrahamic traditions, the goat stands as a poignant symbol of sacrifice and atonement. From the ancient Biblical ritual of the scapegoat, bearing the sins of the community into the wilderness, to the deeper theological narratives, the goat embodies the complexities of innocence, burden, and redemption. Its role serves as a profound reflection on humanity's relationship with the divine and our quest for absolution.'Bonham's are thrilled to unveil one of the most defining and iconic Adam Henein sculptures to ever come to market. One of the artists seminal early zoomorphic sculptures, dating from 1965, 'Goat' stands as a grand, symbolically profound, and deeply evocative example of Henein's oeuvre.Henein's childhood memories from a pastoral village in Egypt fostered a profound bond with the natural milieu and animals that surrounded him. Among them, the goat, particularly the proud female with her large, nurturing udder, captured his imagination. In the rural tapestry of Egypt, the goat emerges not only as an essential asset to peasant life but also as an emblem of vitality and fertility.To Henein, the goat epitomized the grace and allure of a modest existence and the intricate bond between humans and the natural world. The expressiveness of the goat's countenance and the emotions conveyed through its stance and demeanour deeply resonated with him.Supplementing his personal affinity for the goat was the influence of ancient Egyptian traditions, which revered animals both in worship and in daily life. Henein's goat sculptures reflect his aspiration to encapsulate this age-old reverence, immortalizing the eternal elegance and dignity of these creatures.In ancient Egyptian society, goats held both utilitarian and symbolic significance. They were indispensable to peasant life, providing milk, meat, and hide. Moreover, goats were intertwined with the lore of Khnum, the god of fertility. Their representation in art and mythology, therefore, bore witness to Egypt's agricultural legacy and its dependence on these animals.Yet, the symbolism of goats is not restricted to ancient Egyptian context. In Christian traditions, goats evoke powerful narratives. Their portrayal as innocent 'scapegoats' underscores their sacrificial roles, bearing humanity's burdens before God. However, the duality of their symbolism is evident, as they have, at times, been associated with the devil, representing the nuanced balance of sacred and profane. Today, the goat remains not only a tribute to Egypt's rich agrarian past but also a testament to its continued relevance in many regions of the nation.'This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A large late 19th century Chinese polished bronze octagonal jardinierewith twin phoenix handles, the sides cast in relief with a qilin, raised on four squat lion dog feetheight 24.4 cm., handle to handle 40.6cm.Condition: Overall fair condition commensurate with age. Traces of cleaning residue
A collection of 19th century and later corkscrewscomprising: Italian Carlo Gemelli 'Barmaid' double lever corkscrew c.1950, a Farrow & Jackson brass two pillar open barrel corkscrew with rotating butterfly handle, stamped, a Thomason type double action corkscrew, the turned wood handle with brush over a bronze barrel with side winding handle and applied patent royal crest plate, two direct pull corkscrews with turned wooden brush handles and a French 'Zig Zag' concertina action chromed corkscrew, (6)First length 26.5cm.Condition: Carlo Gemelli bottle opener with chips and losses to black decoration. Minor corrosion to worm of Thomason corkscrew. Others in condition commensurate with age. The pull corkscrew with the pinker brush is stamped to its brass collar, 'Wilmor Roberts Patent'. The other pull corkscrew is stamped into the metal, 'RobT Jone..& Son'.
A lovely group of 20 early Chinese bronze buckles and belt fittings. Including several full bronze or copper buckles and many small decorations.Height ranges from 1 in to 4 1/4 in; width ranges from 1/2 in to 1 1/2 in. />Condition: Wear and patination commensurate with age and use. A few small stickers affixed to the pieces.
Late 19th c. Japanese Meiji bronze okimono in the form of a grouping of five turtles.Height: 2 1/4 in x width: 3 1/2 in x depth: 5 1/2 in. />Condition: There are no bends, breaks, losses, or restorations. Light wear throughout. Some patination. There are points of high polish due to wear along the underside as expected from age and display. A few small casting flaws along the underside that do not affect the overall look of the composition.
19th century Chinese bronze censor with four applied mask handles and four shou symbols. The body very thin and the underside bearing a well-carved seal mark.Height: 3 1/4 in x diameter: 4 3/4 in. />Condition: No visible cracks, losses, or signs of restoration under UV light. No major dents; minute dents throughout the item as expected. Light discoloration throughout as shown in the listing image. Dust collected along the recessed areas. Along the interior, there is heavy discoloration and oxidation. Along the underside, there is oxidation and wear, consistent with age and use.
ARCHAEOLOGY -- MÜLLER-KARPE, H., hrsg. Prähistorische Bronzefünde. Abt. IV/1, VI/1, IX/1-3, X/1, XIV/3, XVI/1. München, 1969(-74). 8 vols. of the series. W. num. plates. 4°. Ocl. w. dust-j. NOTE: PERONI, V.B. Die Schwerter in Italien. - P. HARBISON. The Daggers and the Halberds of the Early Bronze Age in Ireland. - Id. The Axes of the Early Bronze Age in Ireland. - A. VULPE. Äxte und Beile in Rumänien I. - M. NOVOTNA. Die Äxte und Beile in der Slowakei. - I. RICHTER. Der Arm-und Beinschmuck der Bronze- und Urnenfelderzeit in Hessen und Rheinhessen. - P. BETZLER. Die Fibeln in Süddeutschland, Österreich und der Schweiz I. - F.-W. v. HASE. Die Trensen der Früheisenzeit in Italien.
AFTER THE ANTIQUE- A BRONZE HYDRIA NEAPOLITAN, 19TH CENTURY The water jug with pouring handle issuing from winged laughing mask, hippocamps above, twin carrying handles to the sides 53cm high Condition Report: The whole with applied antique verdigris finish. bruises to shoulders with surface 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. 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 All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request Condition Report Disclaimer
A FRENCH BRONZE GROUP OF A CENTAUR FIGHTING 19TH CENTURY Centaur with female figure above, and male figure below 13.7cm high, base 13.5cm wide Condition Report: Formerly mounted- with vacant screw holes. The patina uniformly rubbed from handling, use and as per age. 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. 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 All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.Condition Report Disclaimer
AN ITALIAN BRONZE FIGURE OF THE YOUNG HERCULES 16TH CENTURY Depicted standing, apples to his right hand, club to his left, on waisted turned base 23.5cm high overall, base 9.3cm diameter Condition Report: The dark patina with traces of gilding remnants, rubbed from handling, use and as per age, looks to have had contact/joint with base strengthened and possible remedial repairs to ankles 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. 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 All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.Condition Report Disclaimer
AFTER THE ANTIQUE- AN ITALIAN BRONZE FIGURE OF ZEUS 19TH CENTURY Set on waisted moulded socle base 29cm high overall. Base 8cm diameter Condition Report: With characteristic rubbing to margins of anatomy, details, and plinth as per age, handling, dusting. Slight crack around joint to right arm, vacant hole to his left hand slightly crusty surface from age, surface dirt. 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. 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 All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
A FRENCH BRONZE FIGURE OF A PUTTO PLAYING THE TRIANGLE 18TH CENTURY Now set on an ormolu base 32.5cm high, base 14.8cm wide Condition Report: With rubbing throughout to patina as per age, use and handling- darker surface to recessed areas. Gilding to base edges rubbed- slight shrinkage/movement around joints 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. 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 All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on requestCondition Report Disclaimer
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