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![Miscellaneous Roman , Roman Imperial Sestertii and larger bronze coins (91) [91]. Varied state £60-£80](https://cdn.globalauctionplatform.com/f9a41299-74b6-484c-b5d7-aeb000adb952/30022013-ae2b-4d4f-b501-af0400cc5235/468x382.jpg)
![Miscellaneous Roman , Assorted Roman bronze coins (116), mostly 3rd and 4th century issues [116]. Varied state £100-£150](https://cdn.globalauctionplatform.com/f9a41299-74b6-484c-b5d7-aeb000adb952/3f2baa62-f473-4f26-aacc-af0400cd6f4a/468x382.jpg)
Lot 767
George III mahogany chest on chest, circa 1770, having a dentil and cavetto cornice over two short and six long graduated drawers, each with gilt bronze handles and escutcheons, within blind fretwork and fluted canted corners, raised on ogee bracket feet, width 124cm, height 172cm, depth 58.5cm
Lot 136
A SOLID BRONZE GUNNERY MAGAZINE COVER, FROM HMS DRAKE, A WORLD WAR ONE ARMOURED CRUISER, which was sunk by German U Boat U79 on the 2nd October, 1917, HMS Drake was the lead ship of the Drake Class Battle Cruisers in WW1, Drake saw action throughout the early part of the War, but was used as escort for Transatlantic supply Convoys, On October 2nd 1917, Drake was involved in an escort of a Convoy, off the Coast of Northern Reland near Rathin Island, She was spotted by Kapitanleutnant Otto Rohrbeck, Captain of U79, Her Convoy HH24 had dispersed to continue to their various destinations, She was struck by Torpedo with the initial loss of eighteen lives, the quick thinking Captain managed to get the ship into shallow water near Church Bay, Rathin Island, the rest of the crew were rescued before the ship listed and eventually sank in approximately 15-19 metres, U79 would go on to sink two further Allied ships that Day, Brisk & Lugano, Rohrbeck was one of the most succesful U Boat 'Aces' of WW1 sinking eleven ships and seriously damaging two others, HMS Drake lay off the Island, but some very unwelcome attention by the I.R.A. in the 70s, resulted in Royal Navy Diving team, divers going down on the wreck and preparing charges to blow up remaining ordenance on board, today Drake is a favourite Dive site, withinn the Diving Community, the hatch is oblong approximately 52x28cm and it very heavy, the small circular hatch can be opened and the whole object is in good condition, various research and copied paperwork has been included in the lot, an amazing piece of WW1 Naval History
Lot 280
A BOX CONTAINING GERMAN 3RD REICH INSIGNIA, to include, Hitler Jugend Diamond Pin Badge, marked to reverese M1/8 & RZM, Hitler Jugend Shooting Profficiency Badge marked to reverse M1/102 & RZM, SS Totenkopf Skull,(copy?) small metal silver coloured Breast/Cap Eagle marked to reverse M1/120 & RZM, together with fur Rettung Aus Gefahr Medal, originally issued, before the emergance of the 3rd Reich, but re-instituted by the Reich for awarding in the cases of saving lives or facing extreme danger to do so, with ribbon and wearing ribbon, together with two DRL Badges silver and bronze marked H W ERNSTEIN-Jena German Ribbons and two British Army Articifer patches
Lot 69
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927)."Untitled", 1970.Bronze, copy 1/3.Signed, numbered, dated and dedicated.Size: 17 x 13 x 11 cm.Trained between Barcelona and Paris, Subirachs has exhibited his work all over the world, and has won important awards such as the Sculpture Prize of the Salón del Jazz, the San Jorge Grand Prize of the Diputación de Barcelona and the "Julio González" prize of the Cámara Barcelonesa de Arte. 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 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.
Lot 74
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Three spectators at the barrier", 1981.Oil on canvas.Signed and dated in the upper left corner. Titled and dated on the back.It has a patch on the back.Measurements: 73 x 92 cm, 74,5 x 94 cm (frame).Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he produced twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. In 1977 he moved to Holland, where he produced the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, producing sixty-two works in ceramic and bronze which were exhibited at the 1988 edition of ARCO. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés is today one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After an initial stage of correct figuration in which he recreated the landscape of his homeland, his work began to lean first towards dramatic expressionism and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic and somewhat erotic world, he developed a body of work whose roots conceal a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 82
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.
Lot 510
First Millennium BC, A plain gold band, late Bronze Age or Iron Age, flat and rectangular in section with angle-pointed shaped ends, 8.28g, 12 x 4 x 1mm. A few scuffs and scrapes, otherwise very fine, original colour £400-£500 --- The band has been twisted and folded out of shape so it is uncertain whether it was originally a bangle, a bracelet, or a coiled finger ring
Lot 43
▲ Alexandra Beale (ARR applies)An impressive bronze fountain figure of Ondine in a tiered zinc pool surround designed by R.K. Alliston, removed from the Royal Automobile Club, Pall Mall, London 270cm high overall, 190cm square baseThis fountain was commissioned and installed in 2008. Sculptor Alexandra Beale’s work ranges from full size statuary and garden water features to portrait heads and composition pieces for interiors.She has exhibited widely in London and the South of England including many of the National Garden events as well as many of the country’s prestigious garden shows including Chelsea, Hampton Court, Stansted, West Dean, Parham and The Old Town Hall Chelsea. Ondine (also known as “Undine”), a mythological figure of European tradition, was a water nymph or sprite who could become human only when she fell in love with a mortal man. However, if the mortal was unfaithful to her, he was destined to forfeit his life. The Royal Automobile Club on London's historic Pall Mall was desinged and built by the fashionable architects Charles Mewes and Arthur Davis. They had already been lauded for the recently constructed Ritz hotels in Paris and London, and the interiors of some of the great ocean-going liners of the day. Opened in 1911 at the huge cost of £330,000, it has remained an iconic institution ever since. This fountain was removed in recently prior to remodelling of the courtyard gardens and represents a unique opportunity to acquire a stunning artwork from one of London’s best loved clubs.See video of working fountain by clicking here.
Lot 45
Eneri Prosperi: An Henri studio life bronze of children standing on a tree trunk1970sstamped Bronze Elite by Henri weathered green patination230cm highEneri Prosperi was born in Bagni di Lucca in tuscany in 1910 and later emigrated to America, where he founded the Henri Studio in Chicago. Specialising in both composition stone and bronze, they produced a range of garden sculpture. He died in 1990.SculptureStatue
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