LUISA GRANERO SIERRA (Barcelona, 1924)."Maternity".Sculpture in patinated bronze, on marble base.Signed on the right side.Includes 100 cm high lacquered wooden base.Measurements: 55 x 28 x 38 cm (sculpture).Luisa Granero trained in Barcelona, at the School of Fine Arts of Sant Jordi. She was a disciple and assistant to the sculptors Jaume Otero and Enric Monjo and, later, professor of sculpture at the current Faculty of Fine Arts in Barcelona, where she obtained her doctorate in 1983. She is currently a member of the Royal Academies of San Fernando in Madrid, Santa Isabel de Hungría in Seville and Sant Jordi in Barcelona, and has been a member of the National Sculpture Society of New York since 1973. He has won several prizes, including the City of Barcelona, and has several public works in that city, as well as in Zaragoza and Palma de Mallorca. He has also held open-air exhibitions in various places, such as around Malcesine Castle in Italy (2004) and in Sitges (2007). In 2009 he received the Autocugat Art Prize.
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ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940)."Sunset.Oil on canvas.Signed in the lower right corner.Size: 50 x 62 cm; 66 x 78 cm (frame).A solitary figure contemplates the sunset from the shore. The sunset shines with its last igneous glow. Meifrén subjugates us with this laminated sea of infinite cerulean and saffron cadences.A disciple of Antonio Caba at the Barcelona School of Fine Arts, after completing his studies he spent some time in Paris, where he coincided with the public beginning of Impressionism and became acquainted with painting "à plen air". He returned to Barcelona in 1879 and that same year won the gold medal at the Regional Exhibition in Valencia. The following year he made his individual debut at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. He was a member of the Modernist group and frequented Els Quatre Gats. Although he was also a portraitist, Meifrèn was eminently a landscape and marine painter. He was one of the discoverers of the pictorial possibilities of Cadaqués, and he also used to paint Mallorcan landscapes (he was director of the School of Fine Arts in Palma). He made several trips in search of new landscapes, especially to France, but also to the Canary Islands, Belgium, Italy and the United States. He held exhibitions in Barcelona, Madrid (1881), Chicago (1893), Paris (1899), Brussels (1910), Santiago de Chile (1910), Buenos Aires (1910), Amsterdam (1912) and San Francisco (1915), among many other cities around the world. His style began with the detailed realism that dominated the Catalan school at the end of the 19th century and gradually evolved towards Impressionism, a language that would not be fully evident in his work until his later years. Thus, in his maturity we see a landscape painting with a purely chromatic and luminous treatment, which leaves aside the meticulous description of the real model to capture an impression of nature, a purely visual and purely plastic image, in which the loose, impastoed and precise brushstroke configures forms and spaces based on the juxtaposition of colours. Throughout his career he won numerous prizes, including the first medals at the National Exhibition of Fine Arts in Madrid (1906) and Barcelona (1896), the Nonell prize in Barcelona (1935), the bronze medal at the Universal Exhibition in Paris (1888) and the grand prizes at the International Exhibitions of Buenos Aires (1910) and San Diego (1916). In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. He is currently represented at the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
A collection of Coronation and Jubilee medals, comprising: a Victoria 1897 Diamond Jubilee bronze medal, 56mm; a George V 1902 Coronation medal, 51mm; a George VI 1937 Coronation medal, 33mm; a George V 1935 Silver Jubilee medal, 33mm; another George V 1935 Silver Jubilee medal, 58mm, each boxed; and an Edward VII 1902 Coronation medal, 31mm, in envelope. (6)
A PAIR OF REGENCY GILT AND PATINATED BRONZE CUT-GLASS CANDELABRA EARLY 19TH CENTURY each with a baluster cut-glass stem hung with beads and lustres with a faceted ball and cone surmount, the turned body with satyr mask terminals issuing a pair of scroll and anthemion decorated arms with griffin heads, with a pair of cut-glass sconces (2) 54cm high, 34cm wide Provenance Purchased from Phillips of Hitchin, 27th May 1976.
A FINE PAIR OF GEORGE III BLUE JOHN AND ORMOLU MOUNTED VASE PERFUME BURNERS BY MATTHEW BOULTON AND JOHN FOTHERGILL, C.1775 of ovoid form, each with a domed foliate cover with a flower bud finial above a pierced rim, with a pair of scrollin foliate handles with ram's head terminals and hung with laurel garlands, with ribboned oak leaf swags, above a fluted socle, on a stepped square foot with an egg and dart border, in turn on a white marble waisted socle with a guilloche cast ormolu band with scrolling ribbon and flowerhead decoration (2) 24cm high Literature Nicholas Goodison, Matthew Boulton: Ormolu, London 2002, p305, pl 279 where our lot is illustrated. Catalogue Note The year 1765 saw Matthew Boulton, engineer and entrepreneur, visit Paris to learn about the ormolu workshops and the wares they were providing to satiate the Georgian demand for 'antique' inspired works of art. This visit led to his partnership with John Fothergill to create, in 1768, a new ormolu workshop at their premises in Birmingham to decorate the vases they were creating using various polished stones, the most popular being blue john, a feldspar only found in one seam in Derbyshire. In fact, so popular were these blue john vases that at around the same time Boulton attempted to purchase or lease the blue john mines. By 1770, the design seen in the current example had been fine tuned to the point of production and is found in Boulton and Fothergill's Pattern Book 1 on page 171 (Goodison, (N), Matthew Boulton: Ormolu, p305, pl. 278). The popularity of this design was ensured after Boulton sold several vases to Queen Charlotte and they were eventually produced in a number of variations. The most popular were blue john 'candle vases', with reversible covers, and perfume burners as seen here. Other variations include different designs of the socle, resulting in the vase being mounted on a lower socle either in ormolu or white marble, alongside the use of white marble or porcelain as the primary ovoid body. For similar examples, see Canterbury Auction Galleries, Fine Art and Antiques, 6th June 2020, lot 630 for a pair of George III ormolu mounted blue john candle vases; Sworders, Fine Interiors, 3rd December 2019, lot 257 for a pair of gilt bronze and porcelain cassolettes; Christie's, European Furniture and Works of Art, 6th July 2016, lot 88 for a pair of George III ormolu and white marble perfume burners; Christie's, East & West: A Private Collection from Eaton Square & Anouska Hempel, 2nd May 2013, lot 9 for pair of George III ormolu and white marble perfume burners; Woolley and Wallis, English and Continental Furniture, Barometers, Clocks and Works of Art, 13th March 2007, lot 128 for a pair of George III ormolu mounted blue john 'candle vases' by Matthew Boulton.
AN EQUESTRIAN BRONZE OF 'LE PERSAN ETALON' OR 'THE PERSIAN STALLION' BY JULES MOIGNIEZ (1835-1894) on a naturalistic oval base, signed 'J. Moigniez' and titled 'Le Persan Etalon', with dark brown patination 31cm high, 40cm long Literature J. Horswell, Bronze Sculpture of Les Animaliers. Reference and Price Guide, p.244.
A GILT BRONZE 'DUVAL' URN 20TH CENTURY the squat baluster body applied with crested roundels beneath a woven neck, with a pair of gilt cherubs sat on lion's head handles, the reeded base above a lappet knop and rim, on a square foot, fitted for electricity 44.5cm high, 42cm wide Catalogue Note This urn is based on a model believed to have been designed by Pierre Duval Le Camus (1790-1854) for the gardens at the Palace of Versailles.
AN ITALIAN PORPHYRY AND WHITE MARBLE GRAND TOUR ATHENIENNE MID-19TH CENTURY AND LATER the green porphyry bowl with a gilt bronze pinecone terminal, supported on three lion's head monopodia with paw feet around a gilt bronze pinecone, on a concave white marble and Egyptian red porphyry triangular base bowl: 17.5cm diameter overall: 42.2cm high
A FRENCH BRONZE MODEL OF THE BORGHESE VASE AFTER THE ANTIQUE, LATE 19TH CENTURY cast with a frieze of classical figures between a pair of mask handles, between an ovolo rim and stem knop, on a fluted base and square foot 21.5cm high, 15.5cm diameter Catalogue Note The Borghese Vase was discovered in 1566 in the garden of Sallust, in Rome and was bought by the Borghese family in 1645. In 1808, the French Emperor, Napoleon I, decided to buy a large portion of the Borghese Collection, amongst them the Borghese Vase which was then transported to the Louvre and has stayed there since 1811. The vase would have been originally made for a wealthy Roman who used it to decorate the garden of his villa. It was made in Greece around the 1st century BC, and then shipped to Rome where the rich were looking to recreate the lavish opulence of Hellenistic Greece. The shape of the vase is based on a Greek crater: a vessel that was used at banquets to hold wine. The high relief decoration on the body also relates to its original function, showing Bacchus, the god of wine leaning against Ariadne, who is playing music to the ecstatic figures dancing around them.
AN ITALIAN BRONZE GRAND TOUR BUST OF A MAN AFTER THE ANTIQUE, POSSIBLY CHIURAZZI FOUNDRY, 19TH CENTURY possibly Ephebe of Marathon, modelled looking down to his right, with finely cast curly hair, on a Siena marble socle base together with an associated variegated pink marble column with a green serpentine foot (2) bust: 52cm plinth: 111.5cm
A FRENCH DIRECTOIRE ORMOLU AND CARRARA MARBLE PORTICO MANTEL CLOCK BY LEPINE, C.1790-1800 the eight day brass drum movement with an outside countwheel and striking to a bell, the backplate inscribed and numbered 'Lepine h.ger du Roi Paris no. 4163', the white enamel dial by Barbichon, with the days of the week in puce, with black Roman hours and Arabic minutes and puce dates, signed 'Lepine H.ger du Roi' and 'Place des Victoires no.12', with gilt pierced and fleur-de-lis time hands and steel calendar hands, the temple case with chased and gilded bronze mounts, with an eagle surmount above six urns of flowers and a gallery supported by Corinthian columns hung with laurel swags, with two female figures, representing Justice and Fortitude, flanking war trophies, the breakfront base inset with tablets of scrolling leaves and further trophies, on a separate plinth base 73cm high, 49.3cm wide Provenance By repute, this clock belonged to a noble North Italian family Purchased from Art Ancien, Via dei Coronari, Rome, c.1997 The Collection of Sir Jeremy Lever Catalogue Note Jean Antoine Lepine (1720-1814) began his horological career in Geneva, later moving to Paris where he was apprenticed to Andre Caron, the King's clockmaker. He subsequently married Caron's daughter in 1756. He received maitre title in 1762 and soon after was appointed to the coveted position of Horologer du Roi for Louis XV. He subsequently served as watchmaker to Louis XVI and Napoleon I. He operated from premises in the rue Saint-Denis and in 1789 moved to 12 Place des Victoires. By this time, the day to day running of the business was handled by his son-in-law Claude-Pierre Raguet-Lepine. There are several clocks by Lepine in the British Royal Collection and according to C. Jagger, Royal Clocks: The British Monarchy and its Timekeepers, Lepine was a favourite clockmaker of George IV who is known to have bought a number of clocks from the firm.
A FRENCH PATINATED AND GILT BRONZE MYSTERY CLOCK ATTRIBUTED TO JEAN-EUGENE ROBERT-HOUDIN, PARIS, MID-19TH CENTURY the four and a half inch glass dial with black Roman numerals and single gilt metal arrow hand inside a chromed bezel, on a scrolling bracket supported by griffins, the waisted case decorated with a cherub amongst scrolling foliage containing a brass, two train movement stamped 'Brevet d'Invention, Boilviller A Paris' and '61', striking on a bell, the back of the case also stamped 'Brevet d'Invention', on a scrolling and shell foot and on a velvet topped giltwood plinth with shell and scrolling foliate decoration 41.5cm high Literature Derek Roberts, 'Mystery, Novelty & Fantasy Clocks', 1999, p 225, pl.19-7 for a similar second series 'standard glass dialled single handed mystery clock'. Catalogue Note For similar examples see Bonhams London, Fine Clocks, 9th July 2014, lot 159 and Bonhams New York, Fine Furniture and Decorative Arts, Clocks and Silver, 24th September 2012, lot 5268.
A PAIR OF JAPANESE BRONZE FIGURAL CANDLESTICKS naturalistically modelled as cranes, 55cm high Condition Report : one of the stems of the removable sconces broken, otherwise OK Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
British Empire including Bermuda, Rare Canada & British Islands Coins (x17). Comprising:Very rare Canada 20 cents 1858 (issued for 1 year only with just 750,000 minted).Bermuda 1793 Copper Penny (only 72,000 minted).South Africa Boer silver 2/- 1897, 1/- 1895, 3d 1897 but with attached loop.India - East India Company - 2 Annas silver 1841, 1/2 Anna 1845, 1/2 Anna India 1862,Newfoundland 1 cent 1880,Jersey 1/13th of a shilling 1866, 1871 (x2),Ceylon 1897 10 cents high grade but with attached loop.Plus 4 other Jersey/Guernsey bronze coins. A total of 17 coins.
FRANCE - 19th Century Silver & Bronze Coinage Comprising:A) SILVER Louis XVlll - 1/4 Franc 1817B, 1821A (high grade) - both low mintagesLouis Phillipe: 1/4 Franc 1845A, 1836A (holed)Second Republic Pattern: 20 cent 1850A (x3), 1851A, 1859ANapoleon lll: 20 cent 1864A, 1866A, 1866 BB (x2), 1867A (x21), 1867 BB (x6), 1868A (x2), plus 3 a.f. examplesModern Republic: 50 cent 1897 (high grade)B) BRONZE:Second Republic Pattern: 1 cent 1848A - high grade with scratch.Napoleon lll: 1 cent 1857AModern Republic: 1 cent 1874A, 1878K, 1879A (x2), 1898, 1901, 1902.2 cent 1878K (warped), 1886A, 1898.10 cent 1871A . All the above are of high grade.Plus 3 Napoleon lll lower grade and a jeton.An interesting selection of French coinage.
19th Century Token Coinage, Medallions, Model Coinage Overstruck Coinage etc (x12). A bag containing:Colonial Penny Tokens (x2): 1862 Victoria Australia T. Stokes Maker, reverse In Vino Veritas; 1863 H. Ashton Haberdashery Auckland New Zealand.British HalfPenny token (x1) Macclesfield halfpenny 1790 nvF.Remington Typewriter royalty medallion - An uncirculated Victorian example of 4 generations.French 14th July 1790 Copper Revolution medallion - some corrosion.Model One Penny Queen Victoria Coin.Overstruck French coinage etc including engraved & gilded "Boulanger Empereur" (Butcher Emperor) 1888 and "Sedan" on Silver 2 Franc coin plus two other overstruck copper/bronze coins.A counterfeit 1817 George III Halfcrown.A diamond shaped Dutch token inscribed: "1650 Nurnb:Frieden" and "Vivat Ferdinand III"
Badges, Buttons & Coins. Comprising miscellaneous badges including QMNG, 1935 Silver Jubilee badge, Div signs, various buttons including Merchant shipping, various G.B. coins and tokens including better grade bronze G.B. coins, a star shaped South African Kruger 2/6d coin. Lot also includes Tuckers Butterscotch & Wills Golden Bar tins.
Great Britain Silver & Other Coinage Plus Other Silver Coins Comprising 33 pence of pre 1920 coins and £2.37 of pre 1947 coins. Also noted are France 10 Francs 1931, East India Company Half Rupee 1840, plus Royal Mint 1897 Queen Victoria Diamond Jubilee small sealed medallion plus a large quantity of cupro-nickel and bronze coinage all contained in a tin.
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