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Click here to subscribeA contemporary bronze life size model of a colt horse standing four square and on integral base, height 177cm, length 284cm.Provenance: The contents of a Cheshire Country House.Additional InformationThe horse has obviously been outside since new, so shows some signs of weathering, but not to detract at all and it is presented in very good condition.
A very large 20th century Italian bronze ewer with cherubic mount above the grape and vine adorned handle, with main body decorated with Bacchanalian scenes above a socle base, height 105cm.Provenance: The contents of a Cheshire Country House.Additional InformationA good even brown patina throughout and presented in good condition. The ewer probably dates to the mid-20th century.
A graduated set of five early 19th century Imperial polished bronze measures, each by Bate of London, 'Imperial Quart', 'Pint', 'Half Pint', 'Gill' and 'Half Gill', also with various stamped proof marks to the rim, the largest height 13cm, diameter 12.25cm, the smallest height 4.75cm, diameter 5.5cm (5).Provenance: The contents of a Cheshire Country House.Additional InformationAll five are in good condition.
A pair of late 19th century French bronze ormolu mounted and rouge marble candelabra, each with three scrolling branches beside a fawn, on fluted circular column, to square section base with curved re-entrant corners, height to sconces 51cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationBoth presented in very good condition. Good even colour throughout and no damage.
AFTER MARIN; a pair of 20th century bronze figural table lamps, each raised on bead decorated circular plinths, height including fitment 40cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationThe bronze figures both retain a good dark brown patina throughout. The bases are of a lighter colour. General surface wear only.Height including shades is 51cm.
A pair of white marble bronze and ormolu twin light cherubic table lamps, each with fluted marble body, rectangular base and twin scrolling branches, heights including fitments approx. 66cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationBoth have minor rubbing to the raised parts of the bronze, but overall condition is good, with just a couple of minor chips to the edges of the marble bases. Sold electrically untested.
A 1930s polished white onyx pin dish surmounted with a cold painted bronze salmon, diameter 12cm.Provenance: The contents of a Cheshire Country House.Additional InformationThis surface chip to the onyx, also a small bruise to the edge, with further very minor nibbles around the base. The bronze itself is in good condition.
A 1930s cold painted bronze and polished onyx dish surmounted with a partridge, length 17cm, width 12.25cm.Provenance: The contents of a Cheshire Country House.Additional InformationThe partridge is in good condition and retains plenty of the original colour. A couple of minute nibbles to the base, but overall condition is good.
A 1930s Austrian cold painted bronze woodcock surmounted on a polish green onyx shallow dish, width 18.25cm, depth 16.75cm.Provenance: The contents of a Cheshire Country House.Additional InformationRetains original finish and colour. Some rubbing as you would expect and a couple of tiny chips to the paint, but overall condition is good.
A circa 1900 Austrian cold painted bronze figure of a bulldog standing four square, unsigned, length 14.75cm.Provenance: The contents of a Cheshire Country House.Additional InformationOverall in good original condition. A few paint flecks are missing, as you would expect, but a great character face. Overall condition is good and original.
A pair of early 20th century cold painted bronze and green onyx bookends modelled as spaniels, unmarked, height 12.5cm, length 13cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationA couple of small chips to the green onyx, light surface wear and the odd tiny speck of paint loss to the spaniels, but overall in good condition.
A pair of 1930s Austrian cold painted bronze and green onyx bookends, each surmounted with a spaniel, height 11.75cm, length 7cm.Provenance: The contents of a Cheshire Country House.Additional InformationA few tiny nibbles to the onyx and a few small paint losses to the surface of the spaniels, but in good original condition.
A pair of 1930s Austrian cold painted bronze and green onyx bookends, each modelled as hunt riders and their hounds, she modelled side saddle, heights approx. 11.5cm, lengths approx. 12cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationShe has had one of the hands reattached to her leg, with some glue residue showing, also where they meet the onyx there is glue residue showing. A couple of tiny knocks to the onyx, with a few minor paint losses, but both basically in good condition.
A large pair of Austrian cold painted bronze figures of male and female pheasants, lengths approx. 36cm (2).Provenance: The contents of a Cheshire Country House.Additional InformationSome flecks to the paint, as you would expect, but free from any damage. We would date the pair to the mid-20th century.
CHARLES (CHAS) CURRY (English, fl. late 19th century); a bronze figure of a bulldog standing four square, signed and dated 1869, length 23.5cm.Provenance: The contents of a Cheshire Country House.Additional InformationA good dark brown patina throughout, clearly signed to the underbelly. Overall condition is very good.
A late 19th century French bronze figure group of a Classical female with two putti, one holding grapes by her side, unsigned, height 23cm, width 26cm.Provenance: The contents of a Cheshire Country House.Additional InformationGood even dark brown patina throughout, very minor surface wear. Basically in good order.
AFTER ANTOINE LOUIS BARYE; a large bronze figure of a lion standing four square, on rectangular plinth, height 23.5cm, length 40cm.Provenance: The contents of a Cheshire Country House.Additional InformationGood even green/brown colour throughout. Very slight rubbing to raised parts, but overall a good example.
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Micro David", 1971.Nickel-plated metal. With golden metal chain.Signed on the arm.Detachable sculpture: 17 elements.Measurements: 6 x 2,5 x 1,5 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
JAVIER LEÓN PÉREZ (Seville, 1977)."Crumpled universe 06", 2019. Seville, "Estratum" series.Japanese paper, yellow ink and cadmium yellow pigment on canvas.Unique piece.Signed, dated, titled and located on the back.Protected by a methacrylate urn.Measurements: 39 x 29 x 6 cm, 40 x 30 x 8 cm (urn).Trained at the School of Arts and Crafts in Seville and at the University of Fine Arts in the same city, the artist Javier León develops an almost meditative creative process by means of which he studies and works the landscape genre in an abstract way, elaborating spaces external to reality. The work processes followed by the artist contain a certain component of randomness where the stages of construction and growth seek a naturalness that, despite responding to a logic that emanates from the work itself, find a correlation with systems and organisations that occur in nature or in the cosmos. Both his pictorial work and his three-dimensional work made with Japanese paper and his bronze sculptures are closely related, as they are closely related to each other.His work has been exhibited in many national and international contemporary art galleries, including the Spanish AJG Gallery (Seville), the Dutch Judy Straten Gallerie (Hors) and the Portuguese Trema Arte Contemporânea (Lisbon). He has also participated in various fairs such as Arte Lisboa Art Fair (Lisbon), Swab Arte Contemporáneo (Barcelona), CASA//ARTE (Madrid), Liste Coln (Cologne), PAM (Amsterdam), Kinitting And Stitching Show Art Fair (London). In the section of Contemporary Art Biennials, Javier León's work, made on Japanese paper, has been exhibited and recognised at the Biennial Paper of Contemporary Art held at the Rijswijk Museum (Holland), and awarded at the Biennial of Contemporary Art of Lalin (Pontevedra, Spain). Some of his works are part of collections such as the Valentín de Madariaga Foundation (Seville), International University of Andalusia, DEARTE Collection (Soria, Spain), CAIXA Foundation Collection, ABANCA Art Collection and collections of different public institutions in Spain.
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture: 18 elements.Brass, copy 696/2000.Signed and numbered.The patina is worn.Measurements: 28 x 21 x 20 cm (with base).Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Cristina", 1969-1970.Nickel-plated metal, example 2406/9500.Detachable sculpture: 25 elements.Signed and numbered.Measurements: 15 x 8,5 x 6 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Good French bronze, ormolu and green marble large two train figural mantel clock, the movement with silk suspension and outside countwheel striking on a bell, the 3.5" silvered dial inset into a rocky outcrop and surmounted by two seated winged bronze cherubs, over a stepped ormolu mounted green marble base, 23" high (pendulum)
French novelty bronze two train mantel clock modelled as Atlas standing on a fluted pedestal and stepped square base, supporting the globe movement casing upon his back, the movement back plate inscribed GLT...Paris, with platform escapement, outside countwheel and striking on a bell, the chapter ring with raised gilded Roman numerals and ornate foliate pierced hands, 19.5" high
Good French alabaster and ormolu mounted portico two train mantel clock, the movement with outside countwheel striking on a bell, the 5" white chapter ring enclosing a stylised and foliate engraved engine turned centre, supported upon four ormolu mounted tapering columns to the stepped base decorated to the front with an applied ormolu frieze depicting cherubs and a lion-drawn carriage, surmounted by a flat plinth over a dentil frieze and further decorative applied ormolu mount, 21.25" high (bronze and gridiron regulated pendulum and key)
Rare painted bronze novelty mantel clock timepiece modelled as a theatre entrance, the 3" dial and movement housed in a drum resting upon two suitcases and attended to either side by standing musician actors before a curtained entrance inscribed above 'Theatre Gringalet, this evening grand representation', 13.25" high (pendulum) **It is likely that this novelty clock is Austrian but possibly French
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