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Lot 319
A large collection of ceramics, glass and mementoes from the New Zealand Exhibitions at Christchurch 1906-7 and Dunedin 1925-26, including a medal awarded to M Perry, Royal Doulton mug, Aynsley cup and saucer, cast bronze / metal pin dish with Maori decoration in relief advertising Aulsebrook, Kapai and Co Biscuits and Chocolates, wooden box, sectional pipe, miniature soda siphon etc
Lot 34
EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89) PAIR OF FIVE-LIGHT CANDELABRA, CIRCA 1860 cast and gilt bronze Dimensions:39.5cm wide, 64.5cm high, 18cm deep Provenance:Provenance: Private collection, Belgium, until November 2022 Paul Shutler Note: Literature: Barker M. 'An appraisal of Viollet-le-Duc (1814-1879) and his influence' Decorative Art Society Journal No. 16, 1992 Note: Viollet-le-Duc, his business partner Jean-Baptiste Lassus (1807-1857) and Father Arthur Martin all supplied designs to Notre Dame during its 25-year post-revolution restoration from 1845. The design of the lower portion of these candelabra was initially found in a set of six ormolu pricket candlesticks made by Poussielgue-Rusand for Notre-Dame in 1862. Viollet-le-Duc's drawing for these is in the Heritage and Media Photographic Library at Cherenton-le-Pont, Paris. A set of six of the original pricket candlesticks designs was also used in the chapel of Saint Michael, Saint Raphael & Saint Gabriel at the Cathedral of Saint Julian of Le Mans, France. The pricket design was also exhibited by Poussielgue-Rusand at the 1867 Paris Exposition Universelle. The upper section of candle arms was designed by Father Arthur Martin, and it featured in Poussielgue-Rusand’s catalogues from 1853, initially as a wall-mounted candle arm. Father Arthur Martin was a talented draughtsman and collector of medieval art and materials. In the 1840s he and his fellow Jesuit Brother Charles Cahier (1807-1882) began interpreting and classifying the collection. Their work was then published by Placide Poussielgue-Rusand from 1847 onwards in the highly influential multi-volume publication on medieval art entitled 'Mélanges d’archéologie, d’histoire, et de littérature'. The upper portion of the candelabra can also be compared to the grilles designed by Viollet-le-Duc in 1865 for the Basilica of Saint-Denis, among other places. An engraving of these was published in the Gazette des Architectes et du Batiment, Vol. 3 1865 No. 9, p. 133. A pair of Viollet-le-Duc’s pricket-design candlesticks in lacquered bronze is in the collection of The Art Institute of Chicago and an elaborate casket designed by Father Martin is in the collection of Notre Dame. Viollet-le-Duc's writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects, including all the major Art Nouveau artists. His writings also influenced John Ruskin, William Morris and the Arts and Crafts movement, and William Burges admitted in his late life "We all cribbed on Viollet-le-Duc even though no one could read French."
Lot 355
ALBERT CHEURET (1884-1966) HANGING LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:41cm diameter, 64cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Lot 430
§ RICHARD GARBE (1876-1957) ‘GIRL WITH PARROT’, 1933 bronze, signed and dated in the bronze RICHARD GARBE ARA/ 1933Dimensions:40cm highNote: Note: A prolific sculptor of the late nineteenth and early twentieth century, Richard Garbe initially learned his craft under the apprenticeship of his father, a carver of luxury ivory and tortoiseshell goods. Garbe's emotive and often dramatic compositions take inspiration from the New Sculpture movement which aimed to convey a renewed sense of dynamism and physical realism, somewhat removed from the more stylised representations of neo-classical sculpture. Recognised for his versatility in working with ivory, bronze, clay and plaster, Garbe gained much praise for his work and was elected to the Royal Academy in 1929 after several nominations from contemporaries such as Frampton, Thornycroft and John Goscombe.
Lot 356
ALBERT CHEURET (1884-1966) TABLE LAMP, CIRCA 1925 patinated bronze, alabaster, signed in the bronze ALBERT CHEURETDimensions:56.5cm highNote: Note: Albert Cheuret was born in 1884 in Paris. He studied sculpture with Jacques Perrin, a professor at the École des Beaux-Arts in Paris (fine arts school), and with Georges Lemaire. The artist began his career in 1907 and set up his studio at 11 Avenue Franco-Russe, near the Champ de Mars. Thereafter he exhibited at the Salon des Artistes Français, part of a milieu that included Auguste Rodin, Antoine Bourdelle, and Jean-Baptiste Carpeaux. After the First World War, Cheuret resumed his practice and secured several high-level commissions. His work is imbued with the clean lines of the Art Deco period and also bears the influence of images which began to appear after the discovery of Tutankhamun’s tomb in 1922, and the new language which it introduced into Western arts and crafts. At the Universal Exhibition in Paris in 1925, Albert Cheuret rented a stall along the Alexandre III bridge and presented his famous light fixtures in bronze and alabaster, his favourite materials.
Lot 3
AFTER DONATELLO CONTESSINA DE BARDI AS ST CECILIA IN THE ROBE OF ARTEMIS painted plaster relief, framed Dimensions:57cm x 40.5cm (frame 73cm x 56.5cm) Note: Note: The original bronze bust relief was created by Donatello in 1412 while Contessina de Bardi, wife of the Cosimo de Medici, was still young.
Lot 301
TIFFANY STUDIOS, NEW YORK PAIR OF 'QUEEN ANNE'S LACE' PATTERN TALL CANDLESTICKS, CIRCA 1900 patinated bronze, blown glass, stamped marks to base TIFFANY STUDIOS/ NEW YORKDimensions:46cm highNote: Literature: Duncan A. Tiffany: Lamps & Metalware, ACC 2007, pp.386 and 387, pls.1577 and 1579 where similar variants are illustrated.
Lot 359
Y RICHARD LANGE (1879-1944) FOR ROSENTHAL UND MAEDER BUTTERFLY GIRL, CIRCA 1925 patinated bronze, set with cut blue stones, ivory, raised on a marble plinth, signed in the bronze LANGE/ R&M Dimensions:14.2cm high, with plinth 21.5cm high Note: Note: Sold in compliance with UK Government and APHA regulations, with (non-transferable) exemption registration reference V7DS74FNPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 483
§ GERALD LAING (1936-2011) THE MESSENGER, 1991 bronze, edition of 10, raised on a Corian plinthDimensions:Figure 140m high, including plinth, 221cm highNote: Literature: Gerald Laing: Catalogue Raisonne, geraldlaing.orgNote: The artist's note on this sculpture reads "The Messenger is a sketch for the uppermost figure on the Axis Mundi group [cat. number 550]. The pose is based on that of Mercury by the Renaissance sculptor Giambologna, who in turn based his famous image on others, now lost, from Greek antiquity. This pose has been used by many artists through the ages, particularly in sculpture, and appears most recently on the cap badge of the Royal Corps of Signals. My figure is, unusually for this pose, female, and in the full-scale version, winged, as befits a Wise Virgin in her Apotheosis."
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