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.
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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)
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.
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.)
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)
Bertina Lopes (Mozambique, 1924-2012)Paire de deux sculptures i. Sans titrebronze29 x 19.5 x 4.5 cm. (sans le socle) 11 7/16 x 7 11/16 x 1 3/4 in. (without base)ii. Sans titre bronze 30.5 x 17 x 4 cm. (sans le socle)12 x 5 1/2 x 1 9/16 in. (without base)Footnotes:ProvenanceCollection privée, ItalieFor further information on this lot please visit Bonhams.com
A bronze Hu vaseMing Dynasty (1368-1644)Of hexagonal section and faceted body flanked by two handles decorated on the top mythical beasts, each with a four-lobed pendant Neck and foot decorated with panels containing a diaper pattern in reliefProvenance:Property of a Portuguese collector. Acquired before 1940.Hight: 35 cm
A bronze tripod censer and coverQing Dynasty, 19th centuryOf round shape, raised on three cylindrical legs, with two vertical "U-shaped" handles and archaistic relief decorationDome shaped cover with pierced decoration, toped by a Buddhistic lionWith fitted hardwood standHight: 38 cm (without base)
AFTER CLODION- A PAIR OF FRENCH BRONZE AND GREEN GRANITE FIGURAL LIGHTS LATE 19TH CENTURY IN THE LOUIS XVI STYLE Formerly with branches, each with a figure, one a satyr, the other a bacchante, on a drum-shaped grey-green granite base with leaf tip upper edge, signed to the cast, formerly electrified 91cm high, bases 26cm diameter; each on an associated wooden stand 85.5cm high Literature: Hans Ottomeyer and Peter Pröschel, "Vergoldete Bronzen", 1986, p. 283, pls. 4.14.4-5, illustrating respectively a design for a comparable figural candelabrum in the Musée des Arts Décoratifs.Condition Report: Wear to surface as per age, handling and use. Both with remnants of later fitment for electrical lighting- both slightly dirty- she lacking an element to base with 2 vacant holes- he with slightly loose thyrsus and the figure, base and mounts in need of tightening up. Some wear to base edges-and some loss to patina from handling- notably to raised exposed limbs. Both with later painted gilt line to marble bases- stands with loss and damagesPlease refer to additional images for visual references to condition which forms 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. Condition Report Disclaimer
AFTER MATHURIN MOREAU (FRENCH, 1822-1912), A GILT AND PATINATED BRONZE FIGURE OF 'LEDA AND THE SWAN' LATE 19TH/EARLY 20TH CENTURY Signed to the cast and inscribed "hors concours" 43.5cm high, the base 20cm diameter Mathurin Moreau came from a distinguished family of artists, studying initially under his father Jean-Baptiste Moreau before he enrolled at the École des Beaux Arts in 1841. As well as carrying out a substantial oeuvre of classical and genre bronzes in his own right- he also produced designs for the Val d'Osne foundry. The Royal Collection holds his 1855 set of four large figures emblematic of the Seasons at Osborne House.Condition Report: Wear to surface as per age, handling and use- notably some rubbing and surface loss to shoulders, fingers, edges of wings. The base with small screw holes suggesting this was formerly mounted.Please refer to additional images for visual references to condition which forms 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 COUSTOU- A LARGE PAIR OF BRONZE MARLY HORSES FRENCH, LATE 19TH CENTURY Bearing signatures to the cast each 57cm high, the bases 47cm wideCondition Report: Wear, marks, knocks and scratches as per age, handling and use. Some areas of wear with paler patina. Section of reign between horse's head and man's hand is lacking. Bolts which join the men to the horses are lacking. This has resulted in the hoses being slightly loose and able to rock back and forth slightly. Due to this the crop one of the men is holding has caused areas of scratching to the horse in two places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
AFTER WILLIAM BULLOCK, A PAIR OF REGENCY BRONZE COLZA OIL LAMPS EARLY 19TH CENTURY Each after Bullock's 1805 design with flame finial above flattened urn form body with applied winged mask decoration, drilled and later fitted for electricityeach 20.5cm high to tip of finial, 25cm high to top of fitment, 30cm wide AND A PAIR OF EBONISED TORCHÈRES OR 'CANDLE STANDS' AFTER DESIGNS BY THOMAS HOPE, EARLY 19TH CENTURY Lotus lappet carved stems, leopard feeteach 120cm highProvenance:The Property of The Wheler FoundationCondition Report: Condition Report Disclaimer
AFTER ANTOINE LOUIS BARYE (FRENCH, 1795-1875), A BRONZE ANIMALIER FIGURE OF A SEATED LION LATE 19TH/EARLY 20TH CENTURY Signed to cast and with Auguste Delafontaine cold stamp to underside 19cm high, base 15.8cm wide Condition Report: Mild ear to surface as per age, handling and use- notably to edge of base- slightly greenish hints to patina- mild rubbing to nosePlease refer to additional images for visual references to condition which forms 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. Condition Report Disclaimer
AFTER LOUIS 'L'AVEUGLE' VIDAL (1831-1892) A BRONZE ANIMALIER FIGURE OF A PACING LIONESSLATE 19TH/EARLY 20TH CENTURY Signed to cast 20.5cm high, base 29cm wide Condition Report: Wear to surface as per age, handling and use- slightly -paler to back and flanks- later yellow baize to underside- small patch of glue (?) to side of plinthPlease refer to additional images for visual references to condition which forms 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. Condition Report Disclaimer
AFTER LOUIS 'L'AVEUGLE' VIDAL (1831-1892) A BRONZE ANIMALIER FIGURE OF A PACING LION LATE 19TH/EARLY 20TH CENTURY Signed to cast 17.5cm high, 34cm wide overall Condition Report: Wear to surface as per age, handling and use- notably some paler patination to back- old paper to undersidePlease refer to additional images for visual references to condition which forms 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. Condition Report Disclaimer
AFTER PRINCE PAUL TROUBETZKOY (RUSSIAN/ITALIAN, 1866-1938) EQUESTRIAN BRONZE 'AMAZONE' EARLY 20TH CENTURY Depicting Miss Adah Nathan Berra riding her horse Cinderella, signed and dated 1896 to cast, on variegated green marble plinth base 48.5cm high overall, base 38 by 16.5cm Paul (Paulo) Troubetzkoy was born in 1866 at Intra, a town on the shore of Lake Maggiore in northwest Italy The son of a Russian prince and an American opera singer- he studied initially with Ernesto Bazzaro in Milan. With the advantages of birth and title- Troubetzkoy travelled across Europe and later America creating portraits of the foremost figures of the day: artists, socialites, aristocrats and industrialists. This rare work was one of his first equestrian portraits. Condition Report: Wear, marks, knocks and scratches as per age, handling, use but generally in good condition- minor repair to left hand rein at junction with head- otherwise only mild wear to raised areas with paler patina and small wear to basePlease 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 WALNUT AND UPHOLSTERED ARMCHAIR IN GEORGE II STYLE, 19TH CENTURYWith green and bronze damask upholstery102cm high, 95cm wide, 77cm deep overallCondition Report: There are scratches, knocks, cracks and abrasions.There are losses, restorations and observations including:The upholstery is relatively recent though it has marks of use and some pulled threads and wear to the arms. The seat cushion with some white possible paint marks. The underside is covered in black fabric and that and the upholstery mean that the frame has not been inspected for originality or condition.There are later bosses to the underside of the feet. Some evidence of worm. The two back legs broken and repaired.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
Antlers/Horns: A Group of Bronze Medal Class European Roebuck Trophies, a set of large adult Bronze medal class antlers on cut upper skull, with accompanying CIC measurement certificate, scoring 105.1, this specimen was naturally blind in the left eye showing affected eye socket, mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.53 mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.57 mounted upon a shaped oak shield with attached Bronze medal, together with two further large sets of adult Roebuck antlers on cut upper skulls, each mounted upon shaped oak shields, (5).
A Portmerion Jupiter blue coffee set, six setting, glassware to include mixed cups and glasses, Stuart and others, Union Jack set of four shooters and others together with late 20th century placemats and coasters together with mixed cutlery and flatware to include bronze flatware and cutlery, and pierced silver plated Walker & Hall salad serversLocation:
A Barr, Flight and Barr pastille burner vase, cover and pierced inner liner, circa 1808-13The bell-shaped bowl supported by bronzed caryatids, attractively painted, in the manner of William Billingsley, with a border of flower baskets alternating with bird's nests and other birds in flight, bronze scroll ornament below, the underside of the bowl with a pale blue ground, the pierced cover with a sphinx finial, 18cm high, printed mark including Coventry St. address (3)Footnotes:ProvenanceLord and Lady Flight CollectionFor further information on this lot please visit Bonhams.com
A Royal Worcester vase and cover by Charley Baldwyn, dated 1900Of urn shape, the elaborate scroll handles with mask terminals, painted with four swans in flight on a sky-blue ground, the reverse with a swallow heightened with gilding, moulded detail picked out in orange, green, bronze and gold, signed 'BALDWYN', 27cm high, green printed mark, shape number 1572 (2)Footnotes:This shape was issued in two sizes, the present lot being the larger of the two. A smaller vase also painted with swans by Baldwyn was sold by Bonhams Sydney on 18 November 2012, lot 261.For further information on this lot please visit Bonhams.com
A Japanese patinated bronze vase, 19th century, of stout baluster form with everted rim and slightly flared foot rim, the mid-brown patinated body mottled with patches of russet, the shoulder with a family of five frogs climbing in relief, single character mark to base, 8½in. (21.6cm.) high. Good condition overall and very original. Shallow dent to rim and some light surface scuffs/faint scratches to body. Encrusted dust and dirt around the frogs.
A Japanese bronze Buddhist lion censer, Edo period (18th / 19th century), the seated lion with head raised and mouth open, the head detachable, dark brown patination, 3¼in. (8.2cm.) high; together with a Chinese bronze mythical beast finial, probably from a censer, 2 3/8in. (6cm.) high, one front leg missing; and a small Chinese bronze figure of a water buffalo, with dark brown patination, 2in. (5.1cm.) high. (3) - Lion censer: Good condition - expected wear to patination to base and edges. - Finial:One front leg is missing. Otherwise, surface dirt and some verdigris spotting. - Buffalo: Good condition, with no faults. Possibly later patination.
A Chinese carved jade archaic bronze form covered vase, second half 20th century, in black, brown and ochre mottled celadon stone, carved with taotie masks, with loose ring elephant head handles and cover with ram finial, 6½in. (16.5cm.) high, in a silk box with hardwood stand. VG condition, with no faults.
Two small bronze figures of the Hindu deity Ganesh, probably early 20th century, the larger 6in. (15cm.) high; together with a bronze figure of the diety Vishna, late 20th century, with a blackened finish, 6in. (15cm.) high. (3) The larger figure of Ganesh with some white paint spots to the surface and a nice patina from handling over many years. The other figure probably later, with some white casting residue visible. The figure of Vishna in good condition.
A Chinese bronze and calcified jade Northern Wei figure of Guanyin, probably 20th century, with heavy verdigris patination, Guanyin standing in front of a lotus petal shaped mandorla, with a border of flames, inscription verso, the four legged base mounted atop a mottled, pale celadon jade square tapered base, carved with masks and with dragon handles, 8½in. (21.5cm.) high. Two small chips to corners of the jade base. The jade and base of the bronze with some heavily encrusted deposits, which may be artificial aging. A small fracture to one of the legs of the stand on the bronze.
A Chinese Tang Dynasty style bronze and gilt dragon mirror, late 20th century, 6 3/8in. (16.2cm.) diameter; together with a gilt bronze Buddha head flame finial, possibly antique with late 20th century lacquered and gilded finish, 8in. (20.25cm.) high, on a perspex stand. (2) The mirror with several large patches of verdigris encrustation to the decorated and polished mirror surface, and overall tarnish spotting to the mirrored side. The finial with a large chip from gilt lacquered surface just below the tip, showing the metal beneath. Otherwise good.
Middle-Eastern Tribal / Yemen / Oman / Bedouin white metal & bronze jewellery and artefacts, comprising of a large rectangular neck piece with hanging bells; two heavy hinged bangles, one converted to pot; pair of miniature drum style ornaments; filigree and bead necklace; small dallah, various bangles and bracelets. (quantity)
Danbury Mint 'British Coin Treasures' wooden collector panels, End of the Empire; A Farewell to Winnie; And then there were Two; 2 x Not All Coins are Round; 2 x Britannia Ruled the Bronze; 2 x Keeping Perfect Time; 2 x The King's Shilling; 2 x Penny Farthing; 2 x From Half Silver to None, together with a cased limited edition 512/1000 Flown on board Spitfire £5 coin and nine capsulated 50p coins in case.
After Henri Louis Levasseur (1853-1934), a brown patinated bronze figure of a philosopher, sitting reading a book, raised on square plinth, signed 'H. Levasseur', brass plaque reads 'à MR BERNARD DIRECTEUR REGIONAL LE PERSONNEL DES P. T. T. DE LA GIRONDE1925', 16 ½in. (42cm.)., Nice patina, nothing note.
A pair of French patinated bronze and ormolu candlesticks, 19th century, the gadrooned urn sconces on tapered fluted columns with gilt lappet capitals and foliate urn mounts to circular gilt bases decorated with acanthus leaves within a reeded border, 11 1/8in. (28.2cm.) high plus fittings, later converted to lamps, 15 ¼in. (39.5cm.) high overall, complete with pale grey pleated silk shades. (2), * Very good condition overall with no faults. Shades VG. They are not wired
Caroline Wallace (British, 20th century) - a bronze race horse figural group "Fast Work", damaged, for restoration, depicting two horses jockey up, racing in full gallop, signed and dated 1985, limited edition No. 4/9, raised on shaped wooden plinth, 21 ½in. (54.6cm.) long, 13½in. (34.4cm.) high, rear horse off - broken at base of back leg. The rear horse is broken off at the base of the back leg, just above the hoof. No metal is missing. The bronze is otherwise good, with no other faults. Sold for restoration.
Philip Jackson CVO, DL (Scottish, b. 1944), ‘La Scala’ bronze, with verdigris patina and polished bronze under skirt, signed "Jackson" and marked with a crossed circle, circa 2000, 19in. (48.5cm) high, from a edition of eight. Good condition. Some surface dirt to verdigris finish from handling.
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350105 item(s)/page