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Lot 1120
A set of five modern hand-crafted "Arkansas toothpick" daggers comprising large dagger with 15½" double edged blade, bronze guard and natural antler hilt, pair of accompanying daggers with 10" double edged blades and pair of similar accompanying small daggers with 5" blades and natural antler hilts
Lot 2402
A collection of ethnic jewellery, including Nigerian pottery bead necklaces, Ghanaian glass bead necklaces, Tuareg batik bead necklaces and two bronze link necklaces, Bali.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2616
Carin Trygger - a 20th century Danish patinated bronze model of a seated dachshund, bearing cast signature and Herman Bergman foundry mark, height 24.5cm, width 28cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2426
A group of Ashanti bronze items, including four jars with figural covers, a selection of other figures and two Hausa people bronze bangles.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2618
Maximilien-Louis Fiot - an early 20th century French patinated bronze model of an Alsatian, bearing cast signature, height 15cm, width 26cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2323
A group of mostly late 19th and early 20th century Austrian cold painted bronze miniature models of animals, including a penguin, height 1.5cm, a walrus, length 2.5cm, and a lead model of a horse.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2620
A pair of early 20th century brown patinated bronze figures of two nude men, each holding their arms outstretched, raised on marble plinths, height 18cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2625
A collection of Eastern items, mainly Indian, including Kashmiri papier-mâché boxes, other metal and enamel boxes, a bronze Buddha and a dagger.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2617
Louis Riche - a 20th century French patinated bronze model of a recumbent Alsatian, cast signature and Jollett & Cie foundry stamp, height 16cm, width 28cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2614
After Pierre-Jules Mêne - a 19th century patinated bronze model of a pointer, height 9cm, a modern bronze model of a cat, height 9.5cm, a 19th century patinated bronze model of a seated greyhound, height 8.5cm, and two further modern composite bronze models of dogs (some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2619
A 19th century Continental patinated bronze figure of a regal female holding a goblet and dish, unsigned, height 25cm, raised on a black marble plinth, together with a 19th century patinated bronze figure of a male harvester, height 12cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2654
A mixed group of collectors' items, including a bronze model of a table, height 20cm, a 'Deluce's Patent Rush Preventive Turnstile' sign and three cut glass chemist bottle stoppers.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2673
A 19th century Indian bronze model of a figure on horseback, the figure hinged, height 25cm, mounted on a wooden plinth, together with another similar figure of a standing deity, height 24cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 6230
Klinger, Max -- Badende, sich im Wasser spiegelndBronze mit gelblich brauner Patina auf würfelförmigem Marmorsockel. H. 24,5 cm, H. Sockel 9,5 cm. (1896/1897). Auf dem Baumstumpf monogrammiert "MK" (ligiert), auf der Plinthe bez. "Akt. Ges. Gladenbeck Friedrichshagen". Die Figur ist eine in Bronze ausgeführte Reduktion der lebensgroßen Marmorfigur von 1896/97, einer von Klingers reizvollsten Arbeiten, die sich in der Sammlung des Museums der bildenden Künste, Leipzig befindet. Die "Badende" wurde mit seiner Erlaubnis von der Gießerei Gladenbeck in verschiedenen Größen gegossen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 6020
Elfenbein, geschnitzt. H. 36,2 cm, B. 23,2 cm, T. ca. 60 mm. Das Etui: Holz, Leder, Textil, Messing und mit drei beschriftete und bemalte Pergamentetiketten, das oberste u.a. bez. "CRUCIFIXO / Pontifici Innocenti / Episcopo animarum / Dei Imagini", das mittlere "Vicarius Innocentius XI. / Confixus", das untere mit der Darstellung einer knienden Figur vor einem Altar mit Kruzifix nebst Wappen von Past Innozenz XI. sowie den Bezeichnungen "Innocentius XI." und "Benedictus Odescalchi", auf den zwei oberen Etiketten weiterhin Verweise auf Bibelstellen aus den Apostelbriefen.Das hier angebotene und bislang der Forschung unbekannt gebliebene Kruzifix ist zuallererst in seiner künstlerischen Qualität bemerkenswert. Geschildert wird der Gekreuzigte noch lebendig, mit geöffneten Augen und erhobenem Haupt, seinen Geist Gott dem Vater empfehlend, den Kopf leicht zur linken Schulter geneigt, den Mund geöffnet. Die genagelten Hände nicht schmerzhaft zusammengekrallt, die Zeigefinger stattdessen als Zeichen der nahenden Erlösung gen Himmel weisend. Zugleich ist die Skulptur von einer sinnlichen Schönheit, in der die Spuren des Leidens in den Hintergrund zu treten scheinen.Es kann als seltener Glücksfall betrachtet werden, dass sich das passgenaue, originale Etui der Entstehungszeit erhalten hat. Lederetuis dieser Machart wurden vor allem im 17. und 18. Jahrhundert für besonders kostbare und fragile Schatzkunstwerke angefertigt, um sie auf Reisen zu schützen und bei dem strapaziösen Versand an fürstliche oder andere vornehme Auftraggeber oder Käufer vor Transportbeschädigungen zu bewahren. Das Etui besteht aus einer zweiteiligen stabilen Grundform aus Holz, die außen mit Leder bezogen und innen ausgepolstert wurde. Der untere Teil ist mit schwarzbraunem Samt bezogen und am Rand mit einer textilen Bordüre besetzt. In der Mitte befindet sich eine Messingniete mit den Resten eines wohl ursprünglich zur Fixierung des Kruzifixes dienenden Bandes. Der Deckel ist mit rötlichem Rauleder ausgekleidet. Beide Teile werden mit, teils verlorenen, Haken und Ösen verbunden. Auf der Oberseite des Etuis sind drei originale Pergamentetiketten aufgeleimt, die wichtige Informationen zur Provenienz des Kruzifixes bereithalten. Das oberste trägt die Inschrift „CRUCIFIXO / Pontifici Innocenti / Episcopo animarum / Dei Imagini“, rechts davon werden drei Bibelstellen aus den Apostelbriefen angegeben „Hebr, 7,26 / 1 Petr. 2,25 / 2 Cor. 4,4“. Auf dem mittleren Etikett ist vermerkt „Vicarius Innocentius XI. / Confixus“ sowie eine weitere Stelle aus den Apostelbriefen „Gal. 2,19“. Der dritte und größte Aufkleber zeigt die stark beriebene Darstellung einer vor einem Kruzifix knienden, betenden Figur in rotem Gewand. Das linke untere Viertel vereinnahmt das Wappen der Familie Odescalchi, bekrönt mit der Tiara. Links dieser Darstellung findet sich der Name des Papstes „Innocentius XI.“, rechts dessen Geburtsname „Benedictus Odescalchi“. Der aus einer reichen Kaufmannsfamilie stammende und in Como geborene Benedetto Odescalchi (1611-1689) wurde am 21. September 1676 zum Papst gewählt. Der Kirchenstaat befand sich zu diesem Zeitpunkt mit Schulden von fast 50 Millionen Gulden am Rande des Staatsbankrotts. Odescalchi stand für eine völlige Neuausrichtung der Kirche. Als erster Papst verweigerte Innozenz XI. jegliche Form von Nepotismus. Mit rigoroser Sparpolitik, Eingriffen in die Zinspolitik, radikaler Reduktion der Hofhaltung und dem Verzicht auf prunkvolle Kirchenbauten gelang es ihm recht zügig, die Finanzen der Kurie wieder in Ordnung zu bringen. Stilistisch folgt der unversehrte, noch von keiner blutenden Seitenwunde gezeichnete Körper des Gekreuzigten dem durch den römischen Bildhauer Alessandro Algardi (1595-1654) nachhaltig geprägten Cristo vivo-Typus. Dieser zeigt ihn in beinah physisch spürbarer, schmerzhafter Dehnung, mit dicht genagelten Füßen, leicht nach innen gedrehten Oberschenkeln und zumeist mit zur Seite flatterndem Lendentuch. In dieser Haltung war kein Winden im Schmerz möglich, und die Marter ließ sich allein über Körperdehnung, Kopfhaltung und Zeichnung des Gesichts ausdrücken (vgl. Jutta Kappel, Elfenbeinkunst im Grünen Gewölbe zu Dresden. Geschichte einer Sammlung. Wissenschaftlicher Bestandskatalog - Statuetten, Figurengruppen, Reliefs, Gefäße, Varia, Dresden 2017, Kat.-Nr. I.13, IV.3, V.25). Bei unserem Kruzifix hingegen ist das Lendentuch in eng gesetzten Faltenstegen dynamisch drapiert, bleibt der Hüftlinie hingegen nah. Stilistisch führt uns der Weg eher in die 1680er Jahre nach Florenz, wo das Motiv des Cristo vivo zunehmend an Beliebtheit gewann. Die beiden bedeutendsten Bildhauer, die in jenen Jahren am Hof der Medici arbeiten, sind der Florentiner Giovanni Battista Foggini (1652-1725), dem 1687 die Leitung der großherzoglichen Bildhauer-Werkstatt übertragen wird, und der in Kammer bei Traunstein geborene Balthasar Permoser (1651-1732). Dieser hielt sich ab 1676 zunächst in Rom auf, wo er sicherlich ausgiebig die Werke Berninis und Alessandro Algardis (1598-1654) studierte, und war spätestens ab Juni 1682 bis 1690 in Florenz tätig. Während Foggini ausschließlich in Marmor und Bronze, gelegentlich auch in Terrakotta und Silber arbeitet, ist Permoser nicht nur „der bedeutendste Elfenbeinbildhauer, der jemals in den Diensten der Medici stand“, sondern „überdies […] der einzige in diesem Werkstoff arbeitende Künstler, der sich über mehrere Jahre hinweg am mediceischen Hofe in Florenz aufhielt.“ (Eike Schmidt, Das Elfenbein der Medici: Bildhauerarbeiten für den Florentiner Hof […], München 2012, S. 203). Eike Schmidt erwähnt zudem einen an der Accademia del Disegno aufgefundenen Brief vom 30. Oktober 1682. Darin insistiert Baldassarre Franceschini, genannt il Volterrano (1611-1689), einer der wichtigsten Florentiner Maler der Zeit, gegenüber der Florentiner Künstlerakademie, dass Permoser „ein von ihm bestelltes Kruzifix nicht anderweitig veräußere, sondern in seiner Werkstatt behalte, da er das Geld zur Bezahlung des Werkes bereit habe“ (Schmidt, op.cit., S. 208). Des weiteren schreibt Schmidt: „Ob im Falle der Uneinigkeit mit Volterrano ein anderer potentieller Kunde das Kruzifix bei einem Werkstattbesuch erblickte und Permoser eine höhere Summe dafür bot, als der Maler mit ihm ausgehandelt hatte, oder ob Volterrano bei der Zahlung in Verzug geriet und Permoser ihm deswegen womöglich drohte, den Gekreuzigten anderweitig zu veräußern, ist unbekannt.“ (Schmidt, ebd.). Hier drängt sich der verführerische Gedanke auf, dass es sich, obwohl an keiner Stelle das Material des Kruzifix erwähnt wird, um das vorliegende Kreuz handeln könnte. Und auch eine weitere Hypothese klingt verlockend: Papst Innozenz XI. versucht die katholischen Fürsten Europas für eine Heilige Liga zum Kampf gegen die Osmanen zu gewinnen. Im März 1683 gelingt es ihm schließlich, den polnischen König Jan Sobieski und Kaiser Leopold I. zu einem Bündnis zu überreden. Innozenz unterstützt die Allianz und den Kampf gegen die gegen Wien vorrückenden Osmanen mit mehr als 2 Millionen Dukaten. So gelingt am 12. September 1683 die Befreiung Wiens. Das osmanische Heer wird vernichtend geschlagen und nach Ungarn zurückgedrängt. Sein Einsatz bringt ihm später durch Historiker den Beinamen „Verteidiger des christlichen Abendlandes“ ein. Könnte es sein, dass Großherzog Cosimo III. oder seine Gattin Vittoria della Rovere, möglicherweise aber auch Kaiser Leopold I. über deren Vermittlung das von Volterrano bestellte Kreuz erwerben, ein Etui anfertigen lassen, und dieses dem Papst als Dank für die abgewendete Gefahr schenken?Hinweis: Der vollständige Text auf unserer Webseite.Wir danken Dr. Jutta Kappel, Dresden, für die wissenschaftliche Beratung und Michael Streckfuß, Berlin, für die Begutachtung des Materials.Zu diesem Objekt liegt eine auf beiden Gutachten basierende Handelsgenehmigung der Berliner Senatsverwaltung vor.
Lot 6221
Wrba, Georg -- Diana auf der Hirschkuh.Bronze mit dunkelbrauner Patina, auf profiliertem Holzsockel (der Bogen ohne Pfeil). Höhe 54,5 cm (mit Sockel). Auf der Plinthe mittig signiert "Wrba", an der seitlichen Kante mit dem Gießerstempel "Guss C. Leyrer München". (1899). Provenienz: Privatbesitz Sachsen.Literatur: Günther Kloss: Georg Wrba 1872-1939: Ein Bildhauer zwischen Historismus und Moderne, Petersberg 1998, WVZ 12.1. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 349
1950s Ocelot coat with Cites certificate– 2 outer pockets, inner covert pocket, inner swing ties, self-lined collar, rear vent, rear half belt, inner cuffs are fur lined, bronze lining with embroidered cut work design. There is a single furrier hook to fasten, 42 inch (S-M) bust (1)Good condition, some wear by hook (photographed)
Lot 4
French Fine Metal Antique 10” dolls cot ; Beautiful 19thC piece with original organdie mattress and pillow bolster and drape frame and has link rivets and painted in gilded bronze colour and 4” and 6” tiny Dolls House dolls of same period of a small glazed china head doll( severed and included foot) an also a small 4” all bisque dolls house doll-the small doll has 2 hip slivers.(3 pieces and also the bed linen as shown)
Lot 17
ANCIENT EGYPTIAN FIGURE OF OSIRIS EGYPT, LATE PERIOD, 664 - 332 B.C. bronze, gold and lapis lazuli, standing deity in typical mummiform pose, holding a crook and flail in his crossed hands, wearing the atef crown with frontal uraeus and incised plaited false beard, the face with inlaid quartz eyes and lapis brows, raised on a bespoke mount(20.2cm tall)Private family collection, Switzerland, since at least 1940, the piece is accompanied by a supporting letter confirming the provenance.Note: Osiris is most often represented as a shrouded mummy, emphasizing his connection with the dead. He holds a flail and a short shepherd’s crook, insignia associated with Egyptian kingship, and wears a long, braided beard, emblematic of divinity. On the front of his tall crown is a uraeus, a cobra ready to spit fire at his enemies. The horns may link him with the sun god, who often appears as a ram-headed man at the end of the day and during the night. By the first millennium B.C., statues and statuettes of Osiris were offered in profusion, reflecting both the importance of the god and a shift in how the ancient Egyptians performed certain rituals. Some of the places where statues of Osiris have been found can be identified as temples and shrines belonging to him, but they have also been found as offerings in contexts where explanations are not evident.
Lot 4
BRONZE AGE MARBLE IDOL IBERIA, C. 2000 - 1800 B.C. carved marble, the rectangular body with rendered with shallow chevron incisions, the eliptical head with single perforation at the centre, raised on a bespoke mount(17.5cm tall)From a private Belgian collection, previously part of a private collection formed in Germany in the 1990s.
Lot 61
ANCIENT EGYPTIAN BRONZE SITULA EGYPT, LATE PERIOD, 664 - 332 B.C. bronze, the ovoid body with a knopped base and swing handle, with an incised rectangular panel containing on the left a priest seated on a stool with incense cones on his head and wearing a panther pelt and with an offering table in front, with fourteen rows of hieroglyphs and a standing priest wearing a panther pelt, holding an incense burner and pouring a libation, raised on a bespoke mountLady Meux (1847-1910), Theobald’s Park, Hertfordshire Annie Trotter, London Ingrid McAlpine (1939-2018), London and Epsom, acquired from the above October 22nd, 1993 Wooley & Wallis, Salisbury, September 19th, 2019, lot 1954
Lot 42
An exceptionally rare and very fine early 18th century French ormolu travelling clock with choice of balance or pendulum controlLe Bon, ParisThe tete de poupee style gilt bronze case surmounted by a bud finial on a pierced panel backed in red silk to allow for the sound of the bell to escape, over the finely modelled head of Helios wearing his crown, the waisted sides cast with lozenges and centred by a pair of male and female Classical profile busts, on a gadrooned base and button feet; the rear panel is plain brass, and has a door hinged at the top and locking catches, the lower part of the back engraved with a subsidiary dial titled Carosse and Repos (Carriage and Rest). The one-piece 4 inch white enamel dial with outer Arabic five-minute numerals encircling a minute band, bold Roman numerals and an inner track for quarters, with good, blued steel hands, protected by a curved glass within a cast bezel and set above the applied signature plaque LEBON. The twin spring barrel movement with large plates filling the rear of the case, signed across the centre in a gentle upward curve to echo the travel of the pendulum Le Bon AParis, mounted above a subsidiary pair of plates supporting the chain fusee to the going train which terminates in a verge escapement set below a pierced and engraved bridge cock supporting the large brass sprung balance with impulse pin to its edge. The clock can be switched to a pendulum-driven clock by selecting Repos - this brings into play a series of connected pivoted levers that lower the silk-suspended pendulum with open crutch which ingeniously engages with the impulse pin on the periphery of the balance wheel. The strike dictated via solid engraved numbered countwheel acting on the bell above. Ticking and striking. 27.5cms (10.75ins) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 43
A fine and rare early 19th century French Gilt and Patinated bronze Pendule L'amerique after DeverberieModelled as a seated woman wearing a feathered headdress and skirt, holding a bow and spear, one foot resting on a stylised alligator, its tail wrapped around a palm tree, raised on a 'D' ended plinth base with applied floral festoons over toupie feet, the 4.5 inch enamel Roman and Arabic dial with gilt hands, the drum movement with flattened lower edges to the plates, silk suspension and outside count wheel strike to a bell. 49cms (19ins) highFootnotes:A similar model is illustrated in Pierre Kjellberg's 'Encyclopedie de la pendule Francaise, Les editions de l'ameteur 1997, pages 352 and 353, fig. B and C, while a further example can be seen in Elke Niehuser's 'French Bronze Clocks 1700-1830', Schiffer 1999, page 147, figs 237 and 238 and page 148 fig 239.For further information on this lot please visit Bonhams.com
Lot 44
A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 69
A unique and extremely interesting late 18th century ebonised longcase timepiece with additional counting featureWright, PoultryThe hood with serpentine arched cresting supported on freestanding brass-mounted Doric columns, with gilt-heightened gothic-arched glazed side doors over an elaborately stepped and moulded throat section, the long arched door with gilt-heightened raised moulding over a conforming stepped moulded section to the plain base on shaped apron. The 12-inch one-piece silvered arched dial centred by a Roman chapter ring with matching pierced blued steel hands, wound at VI, surmounted by a series of four subsidiary dials - the furthest to the right-hand side set with two hands simply giving running seconds and the hour in a 24-hour day. The remaining three are directly geared and mark the passing of each individual hour, their dials marked as 100; 1000 and 20,000.The large weight driven movement with plates measuring 21.5cms x 18cms (8.25ins x 7ins) united by four substantial knopped pillars, the large diameter barrel driving a four wheel train terminating in an anchor escapement set to the top right hand side of the plates, directly behind the subsidiary seconds dial, the plain pendulum suspended from a centrally-mounted cock, thereby necessitating a pivotted right-angled linkage to the crutch. Together with the pendulum with steel rectangular-section rod terminating in a brass bob, later crank winder, case key and brass-clad weight. 2.07m (6ft 10ins) highFootnotes:Thomas Wright was born around 1744 and was made Free of the Clockmakers Company in 1770, establishing himself in the Poultry likely at number 13, and moving later to number 6. At some point between 1770 and 1781, he was appointed watch and clockmaker to the King, though how he obtained this distinction is unknown. Around 1781, Thomas Earnshaw approached Wright to finance his patent for a detached spring chronometer escapement, the former having previously had a falling out with his previous financer. After much discussion, it was decided that Wright would file the patent on Earnshaw's behalf, and Earnshaw would recompensate Wright the 100-guinea patent fee, by charging an additional guinea for each of the first 100 chronometers sold. The patent, 1354, was filed by Wright in 1783. It has been claimed, by Earnshaw, that Wright insisted these first 100 chronometers bear the stamp Wright's Patent on the movement. One such chronometer is known which carries this stamp, though the others seem to use T. W. Pt. 34, with the T.W. presumably standing for Thomas Wright. In 1784, Earnshaw developed a bimetallic compensation balance, and the first watch this was used on was signed Thomas Wright in the Poultry, London, No. 2228. Thomas Earnshaw was not the only famous colleague Wright had, as he also worked with Matthew Boulton, of Lunar Society fame, beginning around 1770. Boulton and Wright produced a clock for King George III in 1771; Boulton supplied the gilt bronze and Blue John case, while Wright supplied the movement. It is possible that this is how Wright received his Royal warrant, though why Boulton contacted Wright in the first place is not clear. Although the clock was made for the King, the design was used by Bolton to manufacture at least six other 'King's clocks'. The escapement was originally verge but was replaced with a pin wheel in the 1820's by Benjamin Vulliamy. Wright is known to have had at least one child, George William, who was apprenticed to his father in 1785. Unfortunately, Wright died in 1792 on a visit to Birmingham, possibly to meet with Boulton, and his son does not appear to have been made free. There also does not seem to be a record of a 'George William Wright clockmaker' and it is possible he pursued a different career after his father's death. There is some indication that Wright's shop was taken over by a horologist named Thorp and the shop name became 'Wright & Thorp', though this hasn't been confirmed. Watches from Wright seem to be more prolific than his clocks, though some of Wright's work can be found at the Palace Museum in Peking.There was also a Thomas Wright of Fleet Street working between 1718-1748 as a scientific instrument maker. This Thomas Wright was also Mathematical Instrument Maker to His Royal Highness, George, Prince of Wales and famed as one of the best instrument makers of the day. Whether this was a relation of Thomas', possibly his father, remains unknown.Weaving, A. H. (1991) 'Clocks for the Emperor', Antiquarian Horolgy, Vol. 19 (4), pg. 389.Randall, A. G. (1984) 'An Early Pocket Chronometer by Tomas Earnshaw, signed Robert Tomlin', Antiquarian Horolgy, Vol. 14 (6), pgs. 609-615.Crisford, A. (1976) 'Thomas Wright in the Poultry London No. 2228', Antiquarian Horolgy, Vol. 9 (7), pgs. 785-788.Science Museum Group (2022) Thomas Wright. Available at: https://collection.sciencemuseumgroup.org.uk/people/cp38979/thomas-wrightSotheby's (2005) An important English ormolu musical and quarter chiming table clock, Thomas Wright and, Matthew Boulton, London and Birmingham, circa 1772. Available at: https://www.sothebys.com/en/auctions/ecatalogue/2005/fine-clocks-watches-barometers-mechanical-music-scientific-instruments-l05881/lot.77.htmlHobbins, J. H. (1912) 'The Chronometer: Its History and Use in Navigation', The Horological Journal, Vol. 55 (4), pgs. 57-65.The British Museum (2022) Thomas Wright. Available at: https://www.britishmuseum.org/collection/term/BIOG81737Atkins, C. E. (1931) The Company of Clockmakers: Register of Apprentices 1631-1931, London: The Clockmakers Company.Royal Collection Trust (2022) Mantel Clock. Available at: https://www.rct.uk/collection/30028/mantel-clockThis lot is subject to the following lot symbols: TPTP Lot 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
Lot 128
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Moira", 1982.Sculpture in polyester resin and electrolytic bronze bath based on the model conserved by Espai Subirachs, copy 254/999.Signed.In wooden box including the book "Subirachs" (Editorial Enciclopèdia Catalana).Size: 28 x 23 x 7,8 cm (sculpture); 20 x 47 x 29 cm (box).Trained between Barcelona and Paris, Subirachs has exhibited his work all over the world, and has won important awards such as the Sculpture Prize at the Jazz Salon, the San Jorge Grand Prize from the Diputació de Barcelona and the "Julio González" prize from the Barcelona Chamber of Art. In 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected member of the San Jorge Royal Academy of Fine Arts. He is represented at the Reina Sofía Centre, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 Josep Maria Subirachs entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he shows his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founds, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returned to Spain, and in 1958 he was awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in various Spanish cities, as well as in Lisbon, Geneva, Antwerp, Brussels, Taipei, Chicago, Paris, New York, Zurich, Stockholm and Copenhagen, among others. His awards include the Ynglada-Guillot Drawing Prize (1966), the San Martín Prize (1971) and the Medal of Merit in the Fine Arts (1988). In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He has participated in the main international biennials, such as São Paulo, Venice, Havana, Antwerp, Cairo, Alexandria, Lausanne and Budapest. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
Lot 129
JESÚS LIZASO (Baracaldo, Vizcaya, 1961).Untitled.Bronze.Signed on the base.Work catalogued in "Lizaso. Art and feeling". Darby Locise, Personal Books p 86.Measurements: 23 x 8 x 8 cm.Jesús Lizaso was born in Baracaldo, Vizcaya. His work draws from the sources of the Basque School of Sculpture. Oteiza, Chillida, Ugarte, Basterretxea... are a source of inspiration, as for many artists, and a necessary step until the study, his own evolution as an artist, the assimilation of these influences and his own inspiration, turn him into a singular artist and a language of his own.Lizaso also participates in the interest in public sculpture, where he shows traits of a meticulous personality, respectful of the environment and ironic. Jesús Lizaso's public work moves between the barely intuited figuration, the use of strong materials and the symbol. PUBLIC SCULPTURES Mamá/Amatxo, 2002, Erandio, Biscay Mamá/Amatxu, 2002, Munguía/Mungia, Biscay. Símbolo/Ikurra, 2003, Basauri, Biscay (symbol of Basauri). Besito/Musutxu, 2006, Baracaldo/Barakaldo public square, Vizcaya Por la infancia, 2006, Parque de las Esculturas, Baracaldo/Barakaldo, Vizcaya (donation from the Consistory of Baracaldo to UNICEF for its 60th anniversary) Fuerte abrazo/Besarkada estua, 2007, Urreta Square, Vizcaya Street, Galdácano/Galdakao, VizcayMujer/Emakumea, 2008, near Casa de Cultura Clara Campoamor, Baracaldo/Barakaldo, Vizcaya Memorias al cubo, 2008, Palencia (Homage to the victims of the Civil War)
Lot 76
RAFA MACARRÓN (Madrid, 1981).Untitled, c. 2014.Papier-mâché and paint. Unique piece.Enclosed certificate issued by the author.Size: 65 x 21 x 15 cm; 17 x 122 x 27 cm (base).In this sculpture Macarrón refers in a personal way to his dog, capturing its essence from its naïve idiosyncrasy. In this synthetic image of stylised forms and intense colour, the artist resorts to lines inspired in a harmonious way by nature, thus extolling forms with which he creates a new concept based on an imaginary world of vitality and joy. The representation of his dog as the protagonist of his work is not isolated, as in the exhibition Quince held at the Cac in Malaga in 2021, there were several sculptures featuring a dog, as well as a large bronze sculpture entitled "Perro I", which can be found on the Estepona promenade. However, in this particular case the sculpture stands out from the others, due to the technique used and the intense colouring which gives it great expressiveness.Rafa Macarrón is one of the young Spanish artists with the greatest international projection at present. His painting brings into play wide, neutral spaces, with intense, vivid colours, through which unstable characters with fragile limbs and enormous heads walk. In this way, he creates scenes which do not dispense with the figurative world, but which immerse the spectator in a dreamlike environment, full of lyricism. The artist acknowledges that he is influenced by artists such as Dubuffet, Fraile, Matta and Quirós, as well as by comic strips and Spanish painting of the 1950s and 1960s. His exhibition career began in 2006, with a solo show at the Sala Príncipe Sport in Madrid, entitled Trabubus. Since then he has participated in numerous solo and group exhibitions in national and international centres. Since 2008 he has also participated, with notable success, in numerous international art fairs, such as Art Madrid, Art Valencia, Scope Basel, Young Art Taipei, ARCO Madrid, Art Miami - Aqua, Art Lima, Context New York, Berliner Liste, and others... He has received several awards, such as the BMW Painting Prize in 2010 or the Best Artist Arco Award in 2013. His work is held in important collections and museums, such as the Hudson Valley Center for Contemporary Art in New York, the BMW Foundation in Spain, the Vivanco Foundation in La Rioja, and the Pilar Citoler Collection.
Lot 143
Property of a Distinguished Gentleman of Title Sir Jacob Epstein (1880-1959) Bust of Joseph Conrad Signed 'Epstein' (on the back) Bronze with a green and brown patina Conceived in 1924 This work is cast 5 from an edition of 6 Provenance: William B. Leeds, Virgin Islands. Anonymous sale; Sotheby's, New York, 5 April 1967, lot 69. B. Gerald Cantor, Beverly Hills. Leona L. Palmer, Beverly Hills. Anonymous sale; Sotheby's, London, 11 December 2006, lot 30. Christie's London, November 21, 2019 [Lot 00281] Modern | British & Irish Art. Where acquired by the present owner. Literature: A. Rutherston, Contemporary British Artists: Jacob Epstein, London, 1925, p. 6, pl. 35, another cast illustrated. E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 156, no. 148, pl. 15, another cast illustrated. R. Cork, Jacob Epstein, London, 1999, p. 46, no. 38, another cast illustrated. Dimensions: 22.5 in. (W, excluding base.)
Lot 150
Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917). This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October, 1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)
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