(1868 Neurode - 1939 Berlin)Spanische TänzerinAlabaster. Sign. u. dat. 1901. Eingelassene, originale, runde Metallplakette der ausführenden, 1887-1929/30 bestehenden "Werkstätten für Kunst und Kunstgewerbe Schumacher und Co.", Osterode am Harz (Punktierzirkel mit Bez. "S & Co."). Vollplastische Darstellung. Auf einer rechteckigen, beidseitig gebogten Plinthe stehende Tänzerin als Halbakt in graziöser Pose, in ihren Händen Kastagnetten haltend. Seger erhielt seine künstlerische Ausbildung an der Königlichen Kunst- und Gewerbeschule Breslau, in den Ateliers von Christian Behrens in Breslau und Auguste Rodin (1983/94) in Paris. Danach arbeitete er als freischaffender Bildhauer in Berlin, wo er um 1900 durch seine Jugendstil-Skulpturen und -Plastiken, insbesondere Akte und Tänzerinnen bekannt wurde. Besch.; H. 75 cm.Eine Bronze-Ausführung der Spanischen Tänzerin befindet sich in der Skulpturensammlung der Staatl. Kunstsammlungen in Dresden (Inv.-Nr. ZV 4084).Alabaster sculpture. Signed and dated 1901. Metal plaque of the "Werkstätten für Kunst und Kunstgewerbe Schumacher und Co.", Osterode am Harz, Lower Saxony (1887 - 1829/30). Flaws.
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nach dem berühmten Clarté-Modell von Max Le Verrier1-flg.; Anthrazitfarbener Marmor sowie grün patiniertes Bronze. Vollplastische Darstellung eines gestreckten weiblichen Aktes, in ihren Händen den kugelförmigen Lampenschirm emporhaltend. Unterhalb gestuft ansteigender Sockel. Elektrifiziert. Entw. Max Le Verrier, 1928. H. 67 cm.A French Art Deco style table lamp according to a design by Max Le Verrier.Frankreich. 20. Jh.
Rocailleförmiger Sockel. Rückseitig aufsteigende, sich verzweigende Blumenranken mit verschiedenfarbig staffierten, sog. Vincennes-Blüten, in blattförmiger Tülle mit Wachsfänger endend. Schauseitig die Porzellanfigur eines springenden Rottiers in naturalistischer Ausführung mit feiner Fellzeichnung über ovalem, blütenbelegtem Sockel. Entw. Johann Joachim Kaendler. Polychrome Malerei. Unw. rest.; Schwertermarke. Leuchter-H. 20 cm.Vgl. Pietsch, Kat. Porzellan Parforce, Nr. 28.A gilt bronze candlestick with Vincennes blossoms, mounted with a porcelain figure of a leaping roe deer. Insignificantly restored. Crossed swords mark.Meissen. Mitte 18. Jh.
Aristide Maillol (1861 – Banyuls-sur-Mer – 1944). Jeune fille debout. Nach 1902Bronze mit brauner Patina. 66 × 16,5 × 14 cm (26 × 6 ½ × 5 ½ in.). Auf der Plinthe neben dem rechten Fuß monogrammiert: M [im Kreis]. Rückseitig an der Schmalseite der Plinthe die Gießermarke: Alexis Rudier fondeur Paris.Mit einer Expertise (No 2531) in Kopie von Dina Vierny, Paris, vom 4. Juli 2003.–Einer von 6 nummerierten posthumen Güssen vor 1952 (Gesamtauflage mind. 24 Exemplare). [3084] Provenienz: Lucien Maillol, Sohn des Künstlers / Alfred Daber, Paris (1957) / Solomon & Co. Fine Art, New York / Galerie Brusberg, Berlin (2005 von Jerry Solomon erworben) / Maren Otto, Hamburg (2005 bei der Galerie Brusberg, Berlin, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Robert Le Lorrain (zugeschrieben) (1666 – Paris – 1743). Les Danseuses. 1. Viertel des 18. JahrhundertsEin Paar Bronze-Statuetten, jeweils dunkelbraun patiniert und auf einen Sockel aus vergoldeter Bronze montiert. Maße (mit Sockel): 41 × 17 × 11 cm bzw. 42,5 × 12,5 × 13,5 cm (16 ⅛ × 6 ¾ × 4 ⅜ in. bzw. 16 ¾ × 4 ⅞ × 5 ⅜ in.). Mit einer Bestätigung von Adriano Ribolzi, Monaco, vom 4. April 2000.–[3084] Provenienz: Maren Otto, Hamburg (2000 bei Adriano Ribolzi, Antiquaire, Monaco, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Christian Daniel Rauch (Arolsen 1777 – 1857 Dresden). „Friedrich der Große nach Schadow“. 1841-1843Marmor. 57,5 × 60 × 38 cm (Höhe mit originalem Marmorsockel: 72,5 cm) (22 ⅝ × 23 ⅝ × 15 in. (Höhe mit originalem Marmorsockel: 28 ½ in.)). Rückseitig unten monogrammiert, bezeichnet und datiert: C. R. Fec. 1843.von Simson 261.–Mit einer klassizistischen Säule (Mahagoni furniert, die Kanneluren mit feuervergoldeter Bronze verkleidet, auf Holzsockel). Russland, um 1790. Höhe (ohne Sockel): 89 cm (35 in.). Der Marmor mit kleinen Substanzverlusten, zum Teil restauriert (im Sockel leicht verfärbt). [3084] Provenienz: Prinz Wilhelm, Bruder des Preußischen Königs Friedrich Wilhelm III. (wohl 1843–1851) / Friedrich-Wilhelms-Universität, Berlin (spätestens 1909 in der Aula nachweisbar, lt. von Simson nach dem Krieg magaziniert und verschollen) / Privatsammlung, Berlin / Holger Martin, Kunsthandel, Berlin (1993) / Maren Otto, Hamburg (1995 bei Grisebach erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
George Segal (New York 1924 – 2000 South Brunswick, New Jersey). Woman on Park Bench. 1998Bronze, weiß patiniert, und Parkbank aus Aluminium. 133 × 184,5 × 85 cm (52 ⅜ × 72 ⅝ × 33 ½ in.). Eines von 6 Exemplaren aus einer Gesamtauflage von 9 Güssen. Spätere Farbfassung. [3084] Provenienz: The George and Helen Segal Foundation, New Jersey /Mitchell Innes & Nash Gallery, New York (2005) / Privatsammlung, USA (bis 2009) / Maren Otto, Hamburg (2009 bei der Galerie Thomas, München, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
ALICIA PENALBA (1913-1982)Sorcier 1 ou Petit Sorcier 1953 signé, numéroté 5/6 et avec le cachet du fondeur Susse Fondeur Parisbronze sur base en boissigned, numbered 5/6 and stamped with the foundry mark Susse Fondeur Parisbronze on wooden baseBronze : 36.3 x 15 x 14 cm.Bronze : 14 5/16 x 5 7/8 x 5 1/2 in. Avec la base : 43 x 17 x 17 cm.With the base : 16 15/16 x 6 11/16 x 6 11/16 in.Réalisé en 1953.Footnotes:Cette œuvre est enregistrée au Centre de Recherche Penalba, Bruxelles.ProvenanceCollection particulière, FranceAcquis auprès de celle-ci par le propriétaire actuel ExpositionsParis, Galerie Claude Bernard, Alicia Penalba, 1960, n° 4 São Paulo, Biennale V, 1961, n° 3 Zürich, Charles Lienhard, Penalba by Alicia Penalba, 1961Leverkusen, Schloss Morsbroich, Alicia Penalba, 1964, n° 4Lausanne, Galerie Alice Pauli, Penalba, Sculptures, 1967, n° 2 Bâle, Galerie d'art moderne Marie-Suzanne Feigel, Alicia Penalba, Sculptures, 1967, n° 2Carennac, Galerie du Prieuré, Un aspect de l'art aujourd'hui, 1968, n° 13Rome, Galleria Nuovo Carpine, Penalba, Sculpture, 1969, n° 2Marseille, Musée Cantini, Certitude de l'incertain, 1977, n° 41Buenos Aires, Museo de Arte Latinoamericano de Buenos Aires, Alicia Penalba, Escultora, 2016, n° 3A, un autre exemple illustré en noir et blancBibliographie Jörn Merket, Penalba, Paris 1977, p. 102 et 139, un autre exemple illustré en noir et blancFrédérick Aubourg, Alicia Penalba - Vers l'envol, Paris 2021, n° 24, un autre exemple illustré en couleursThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rolex Oyster Perpetual ladies gold and stainless steel wristwatch, circa 1997, Ref. 67483, bronze/golden sunburst dial, on Oyster gold and stainless steel strap, with fold-over claspCondition Report:Movement currently functioning, hands moving freely, crown screws down tight, some scratches to case and bracelet, black seal showing through case, serial number and model number part readable (lugs rubbed down engraving in areas), case diameter = 24mm (excluding crown), inner circumference = 17cm, additional link
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... 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
CLAUDE LALANNE: 'NOEUD' BANGLE, CIRCA 1980Realistically modelled as a ribbon bow with leaf terminals, and a textured finish simulating fabric, signed C.Lalanne, numbered 92/100, internal diameter 5.5cmFootnotes:One of the art world's longest-standing surrealist pioneers, Claude Lalanne (1924-2019) designed furniture and sculpture alongside her husband Francois-Xavier Lalanne, and her delicate, sculptural jewellery is inspired by the natural world. She designed windows for Christian Dior and was known from the 1960s for her mastery of life-casting. Yves Saint Laurent commissioned her to create sculpted busts and waists in bronze for his Autumn/Winter 1969 Haute Couture Collection, which fitted over billowing blue dresses dubbed 'Les Robes Lalanne'. The courturier observed, 'What touches me is how she brings together the same high standard of craftsmanship and poetry. Those beautiful sculptor's hands seem to push aside the mists of mystery to reach the shores of art'. Surrounded by her furniture and animal sculptures at her atelier in Ury, near Fontainebleau, Lalanne worked with the doors flung open to her garden, while translating forms inspired by flora and fauna into lasting jewels. She would submerge flowers, plants and butterflies she had found, using a meticulous electroplating process to cover them with a delicate metallic layer, immortalising these organic subjects and breathing life into their castings. Her husband said of her, 'Claude works as the birds sing, without really thinking about it'. Brambles, cherry blossoms, snakes, butterfly orchids, buttercups and gooseberries all passed through her hands. The 1980s and 1990s are considered Lalanne's golden era by collectors of her work, which possesses a delicate and whimsical beauty. Lalanne also produced a choker to match this bracelet.Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com
Churchill (Sir Winston Leonard Spencer, Prime Minister, 1874-1965).- Salute The Great Coalition 1940 - 1945 To W.S. Morrison From Winston Churchill, large bronze medallion commissioned by Churchill celebrating the Great Coalition Government of the Second World War with presentation engraving to W.S. Morrison, one side with slight staining, housed in the original reverse calf pouch, diameter 100mm., 1945.⁂ William Shepherd Morrison, first Viscount Dunrossil (1893-1961), speaker of the House of Commons and governor-general of Australia; served as minister of Town and Country Planning during the Second World War.
A GERMAN BRONZE FIGURE OF A MAN WIELDING A SPEAR IN THE MANNER OF CASPAR GRAS, POSSIBLY 17TH CENTURYIn the Renaissance Mannerist style, now mounted on a mahogany swept base the figure 11.5cm high, 28cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCaspar Gras (1585-1684) was considered to be one of the finest metalworkers in Northern Europe. He is particularly known for his small-scale Kunstkammer pieces, many of which were created during his appointment to the court of Archduke Maximillian III. Condition Report: Surface has been cleaned back leaving a warm paler golden tone, formerly holding something in right hand, some damage to feet from old mounting Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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
AN EQUESTRIAN BRONZE FIGURE OF A GALLOPING HORSE PROBABLY ITALIAN, 17TH /18TH CENTURY Now mounted on modern ebonised wood base the bronze 13cm high, 20cm wide, 16.5 x 22cm overallProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear to patina- tail probably a construction joint which has begin to fail. Previously with lacquer finish which has rubbed in areasCondition Report Disclaimer
AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE FIGURE OF MARS ITALIAN, 18TH CENTURY On later plinth base 41cm high overall, the base 16 x 10cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThis bronze is a cast of the sculpture by Giambologna which was cast in 1587. A similar example can be seen in the V&A, Accession number: A.99-1956Born in Flanders Giovanni Bologna (1524-1608), or short Giambologna went to Rome to study antique sculpture from about 1550 to 1553. He then travelled through Florence where he was persuaded to stay. He became sculptor to the Medici family in 1561 and thus became one of the most influential sculptors of the late 16th and early 17th centuries. He drew attention to many artists from Northern Europe and disseminated his style mainly through small bronzesCondition Report: wear to patina from age, use and handling- notably to exposed limbs, back , signs that some of this has been retouched under strong light- lower guard to sword reattached Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE GROUP PLUTO AND PROSERPINE ITALIAN OR FRENCH, 18TH CENTURYNow set on a variegated red/white marble plinth base 33.5cm high overall, the base 13 x 9.5cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. damage to her left ankle and around his feet from previous mounting- joint above his left ankle working looseSurface rubbed to extremities with patina loss- her left knee, right calf etc. pin joint heads visible Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 DUTCH BRONZE SIX LIGHT CHANDELIER 17TH CENTURY Ball and knopped stem supporting scrolling branches, wide drip pans 57cm high overall, 62cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: One branch pin replaced with wood pic, vacant holes above branch supports suggesting it may have had option for reflectors above, previously fitted for electricity with drilled pans and nozzles, nozzles also with thread boring. Rubbing to main ball from branch contactWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 THE ANTIQUE, A BRONZE FIGURE OF THE MEDICI VENUS LATE 17TH/EARLY 18TH CENTURY Traces of gilding to surface 32.5cm high, the base 10cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Fragmentary gilding to the surface- which has rubbed and worn from age and handling, fracture to left knee and across her right knee probably from weakness of casting join- 2 vacant fixing holes to baseWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BRONZE CHERUBS EMBLEMATIC OF ASTRONOMY AND ARCHITECTURE 18TH/19TH CENTURY Astronomy looking through a telescope and Architecture holding a compass, standing on later stepped black marble square section plinths, one underside with old handwritten note "Valentino Besarel Venice 1829-1902" each 38.5cm high overall, the plinths 12cm square Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor similar please see Christie's, Le Goût Steinitz, III, 6th December 2007, Lot 419. Although a definitive source for this rare design has yet to be established- it may be that the sculptor was drawing on Christoph Carl Punct's 1760s designs at Meissen. In particular model 2460 created circa 1760-65. Condition Report: Some minor surface wear and lighter, rubbed areas to the patination, resulting in a matte mid-brown finish interspersed with darker areas. Some more pronounced rub to drapes, The telescope and drapes bearing traces of gilding. Small crack to the drape of the putto with the compass.small edge chips to basesWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 FRENCH BRONZE ANDIRONS POSSIBLY REGENCE EARLY 18TH CENTURY Central octagonal stepped vase with winged female mounts each 41cm high, 18cm wide, 21cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Surface with accretion of dirt and old polish- colour variances suggesting these may have had gilded detailingWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BARTHELEMY PRIEUR (FRENCH, 1536-1611), A BRONZE FIGURE OF A YOUTH OR NARCISSUS ITALIAN OR FRENCH, EARLY 18TH CENTURYDepicted standing in contrapposto pose, later striated stone base the figure 12.5cm high, 32cm high overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseComparison can be drawn with the bronze figure of a youth attributed to Barthélemy Prieur and held in the Wallace Collection. The collection notes that the pose is derived in part from Michelangelo's "Dying Slave" for the unfinished tomb of Pope Julius II. However a better source of inspiration was to have been found at the time in a figure of Narcissus titled "Genius of Eternal Rest" a Roman marble figure now held in the Louvre.Whilst this lot shares the same sinuous extenuated limbs and slight rolling contrapposto as the Wallace collection figure- the hands are not clasped to the head- but rather around a kind of naturalistic crown on his head.Condition Report: Wear from handling resulting in areas of paler patina to most of body except upper back- small scuff to left hand Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BRONZE ARGAND LAMPS IN THE MANNER OF THOMAS MESSENGER AND SONS, MID/EARLY 19TH CENTURY Each of single swinging branch form with scroll and swan head bases each 49cm high Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: these seem not have been electrified- some dirt and polish accretion, some distortion to drip pans around burners, rubbing to extremities such as feet- small areas of retouching. Later oil fitments.Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BRONZE STATUETTES DEPICTING CHAINED BARBARY PIRATESAFTER PIETRO TACCA (1577-1640), IN THE MANNER OF FOGGINI (1652-1725)LATE 18TH/EARLY 19TH CENTURY Set on variegated Verde Antico marble pedestalseach 46cm high, the bases 14.5 x 14cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThese figures are derived from Tacca's early 17th century "Monumento dei Quattro mori" around the statue of Ferdinando I de' Medici, Grand Duke of Tuscany, in Piazza Micheli, Livorno. The figures represent captured Ottoman pirates and it is thought that he sculpted them using Turkish and Algerian men held in the Bagno dei Forzati in Livorno and used by the Duke as galley slave. Reduced scale bronze adaptations were made by Foggini and these were the basis of reproductions for connoisseurs into the 18th century. The Monument influenced Bernini's Fountain of the Four Rivers in the Piazza Navona in Rome. Pietro Tacca was the chief pupil and Follower of Giambologna.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. scuffs and attrition to exposed knees, rubbing from handling to exposed limbs- shoulder blades etcleft hand figure has been knocked- resulting in some damage to pedestal under buttocks Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 GRAND TOUR BRONZE MODEL OF A ROMAN BATH ITALIAN, EARLY 19TH CENTURYPossibly for use as a jewellery or pen tray 4.3cm high, 24cm wide, 9cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: some typical mild rubbing to feet- and very mild wear to interior and edgesWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 THE ANTIQUE, A BRONZE FIGURE 'CROUCHING VENUS' PROBABLY FRENCH, 18TH CENTURY Now mounted on a turned wood socle and further black slate base the figure 17cm high, 26.5cm high overallProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: overall pale reddish brown patina, some wear to extremities such as base of back, knees and arms, large later steel screw fitted to base, separate elements of base looseWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BRONZE AND BRASS LAMP BASECIRCA 1830 AND LATER In the form of a Roman twin handled urn, later electrical fitment44.5cm high (including fitment), the base 9.5cm square Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding and patina heavily rubbed from handling and cleaning, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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.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.Condition Report Disclaimer
A PAIR OF BRONZE TABLE TOP STORM LANTERNS LATE 19TH CENTURY/EARLY 20TH CENTURY Handblown glass shades with metal protective top rims on foliate stepped bases, the bases in the form of upturned stylised Corinthian capitalseach 35cm high, the bases 10.5cm squareProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: The bases look to have been polished quite hard with only traces of old patina remaining, the glass fits well and though the top rims are a little loose seem to be possibly original Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 GEORGE IV GILT BRONZE AND METAL LAMP BASE CIRCA 1830 With fluted floral wrapped column, hipped lion paw feet, triform swept base, fitted for electricity 55cm high, the base 21.5cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: gilding rubbed from handling and cleaning, elements slightly loose on frame, surface with accretion of dirtWear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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.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. Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE FIGURE OF THE CROUCHING VENUS ITALIAN OR FRENCH, EARLY 19TH CENTURY36cm high, the base 18.5 x 16cm Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Generally good- later pierced hole to base- possibly for former lamp fitment, mild wear to edges, left ankle Condition Report Disclaimer
A REGENCY GILT BRONZE HALL LANTERN EARLY 19TH CENTURY Of unusual form with hexagonal tapering glazed body within frame with Pan or faun head mounts surmounted by scrolling anthemion, pierced petal base, later glass suspension top the lantern 26.5cm high, 27cm wide, approximately 42cm high overall including loop Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Some rubbing and wear to gilding- later fitment to base- glass partially period- 1 panel lacking top retention tab and loose- will benefit from remedial work before use Condition Report Disclaimer
AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE GROUP 'ABDUCTION OF THE SABINE WOMEN' POSSIBLY ITALIAN OR FRENCH, 18TH CENTURY35cm high, the base 11cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Wear to dark patina- most notably to extremities shoulders, elbows, exposed legs- base with drilled fixing hole Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 BRONZE CENTREPIECE WITH TRIDENT SURMOUNTING DOLPHINS PROBABLY ITALIAN, 19TH CENTURYFormerly a 'Grand Tour' fountain surmount 40.5cm high, the base 25cm wideCondition Report: Generally in good condition with only mild areas of surface wear from use. No sign of internal plumbing- the spiked top to trident a little loose- the pin fixing could do with tightening up for better stability. Consigned from a Surrey vendor- no known historyPlease 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 descriptionAll 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. 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 NAPOLEON III GILT, PATINATED BRONZE AND MARBLE URNS CIRCA 1870 Of Neo-Classical form, each with flambeau finial above body with relief plaques of cherubs, stepped Carrara base each 38.5cm high, the bases 16cm square Condition Report: Apparently unsigned, wear and loss to gilding from handling/cleaning and with some sticky deposits. Fritting and edge wear to marble edges/corners. One is slightly off-centre with its base Wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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 descriptionAll 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. 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 LARGE BRONZE GARDEN SCULPTURE OF A CROCODILE MODERN approximately 60cm high, 164cm longCondition Report: Modern- decorative- some surface build up of dirt and weatheringPlease 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.Condition Report Disclaimer
Vincenti & Cie: a green Paris-style porcelain and gilt bronze mantel clock, with enamelled arabic dial, the two train eight-day movement striking on the hour and half-hour, with outside count wheel, the backplate stamped with the trademark of the maker, and Serial No. 1911/58, the green porcelain waisted case with applied cast ormolu mounts, painted to the front with a courting couple and decorative gilt floral sides, with Sevres-style mark to base, with pendulum, 37cms high.From the Leslie Southall Collection.
Raingo Freres: a large and impressive slate, gilt and bronze mantel clock, the dial with enamelled roman numerals, two train movement striking on a bell on the hour and half-hour and with outside count wheel, the backplate with maker's mark and numbered 1875, the case surmounted by a bronze sculpture after Jean Francois Theodore Gechter depicting Quentin Durward saving Louis XI from a boar entitled 'Louis XI et Quentin Durward. W. Scott', the lower case section of canted rectangular form, with cabochon scroll acanthus dog's head, putto and fruiting vine design and stag head apron, 89.5cms high, with pendulum.From the Leslie Southall Collection.
A Louis XV style boulle and gilt bronze mantel clock, with enamelled roman dial, indistinct retailer's mark to centre, French drum movement striking on a gong, and numbered 31242/32, the ornate case with urn pattern finial and rococo-style ornamentation, with sunburst pendulum and winding key, 42cms high.
Ann Baxter, Boroughbridge, North Yorkshire: brown patinated bronze model of a horse kneeling on front legs, unsigned, 49cms long, 26cms high.Notes: Although seemingly unsigned this was bought by the Vendor's family with the two items in the following lot.Award-winning artist Ann Baxter, has led a fascinating and unconventional life, growing up on the family smallholding, hating school and leaving with no formal qualifications. She went on to attend Leeds College of Art on the strength of her portfolio and specialised in sculpture. In adulthood, she managed to recapture the joys of living on a small holding with her husband and son, and also bought two pure-bred Arabian fillies.
After Giambologna (Italian 1529-1608): Mercury flying on the breath of Zepher, after the antique, green patinated bronze, and mounted on a black marble plinth with patinated bronze frieze depicting putti, 66cms high. Notes: The most celebrated sculpture by Giambologna is the Mercury, known in four versions whose chronology is uncertain. His first design, a heavy wingless figure, is preserved in a model in Bologna. When Giambologna returned to Florence, he referred to his earlier work in a second version, a flying Mercury, now lost or identical to one in Vienna. This bronze was sent by Cosimo as a diplomatic gift to the Holy Roman Emperor Maximillian II, when they were negotiating the marriage of Maximilian's sister Giovanna to Francesco de' Medici. The messenger G od was Maximilian's protector and the pose was based on a medal of Maximilian by Leone Leoni (1551).The fourth, a flying variant in Museo Nazionale del Bargello, Florence (of which this lot is a copy) was completed by 1580, when it became a fountain figure at the Villa Medici, Rome. Mercury balances on a bronze column of air issuing from the mouth of Zephyr, over which flowed water, increasing the illusion that he was floating. The god assumes an arabesque, balanced precariously on his toes, and points upward to Jupiter. It is Mannerist in that it can be appreciated from all angles and is elongated and elegant, yet these features contrast with its amazing physicality and an evident study of weights and balances. The preciosity of "Maniera" is blended with what became Baroque illusionism and the freedom derived from wax.
Jonathan Knight: Three Avocets, patinated bronze, with light green bodies, dark brown legs and dappled stamped base, signed 'Knight' and limited edition 7/9, 54cms long, 19cms wide, 31cms high; with receipt, insurance document and catalogue from Rowles Fine Art.Provenance: Purchased from Rowles Fine Art in 2008.
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