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Hampel Fine Art Auctions
Lot 71

Paar große MarmorvasenHöhe : 62 cm.Frankreich, Ende 19. Jahrhundert.Ormoluziselierte passige Bronzefüße mit Akanthusdekor und Zungenfries. Hochrechteckige, grün-weiß geäderte Marmorkorpusse mit geschweiften Zügen und an den Kurzseiten anliegenden Löwenkopfmaskarons mit Ringhandhaben und oben abschließendem Akanthusdeckel mit Knauf. Dieser mit zur Elektrifizierung angelegten Löchlein, ehemals wohl als Tischlampen. (13306112) (10)A pair of large marble vases Height: 62 cm.France, end of 19th century.Ormolu-chased bronze feet with acanthus leaf scrollwork and decorative frieze.

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Hampel Fine Art Auctions
Lot 72

Grosser Pietra dura-TischHöhe: 64 cm.Durchmesser: 119,5 cm.Italien, 20. Jahrhundert.Im Empire-Stil gestalteter Tisch mit drei Greifen auf einer eingezogenen Platte auf deren Köpfen vergoldete Blattgebinde liegen. Mittelschaft als vegetabil gestaltete Säule, die Hauptlast der Deckplatte tragend. Bronze, patiniert und vergoldet, ziseliert. Runde Zarge mit Palmettfriesband und applizierten vergoldeten antikisierenden Ornamenten. Überkragende hohe Deckplatte mit eingelegten Porphyrplättchen, welche einen Ring mit unterschiedlichen Marmorsorten umschließt und mittig durch sechs trapezförmige Kartuschen gegliedert wird, welche durch Lapislazuliplättchen getrennt werden. Die Kartuschen mit vedutenhaft eingelegten Pietra dura-Plättchen, jeweils eine unterschiedliche italienische Landschaft zeigend. Minimal besch. (†) (12821128) (13)Large Pietra dura table Height: 64 cm.Diameter: 119.5 cm.Italy, 20th century.Empire style table. The table top decorated with three griffins wearing gilt wreaths. Central table leg in the shape of a pillar with vegetal decoration holding the main load of the table top. Patinated, gilt and chased bronze. With minimal damage. (†)

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Hampel Fine Art Auctions
Lot 737

Auguste Rodin, 1840 Paris – 1917 MeudonFrÈre et sOeur, 1907Bronzeguss, dunkel patiniert.38,5 x 19,4 x 21 cm.Signiert „A. Rodin“, Gießerstempel „Alexis Rudier fondeur Paris“, innen erhabene Signatur „A. Rodin“.Beigegeben eine Bestätigung des Comité Auguste Rodin, welche dem Objekt die Werkverzeichnisnummer 2021-6434B zuteilt.Der Tod von Rodins älterer Schwester Maria im Jahr 1862 veranlasste den jungen Bildhauer, in einen religiösen Orden einzutreten und seine Kunst für viele Monate aufzugeben. Sentimentale Zärtlichkeit ist in Rodins Skulpturen selten; hier spiegelt sie vielleicht die Erinnerung an die verlorene, tragende Liebe zwischen Bruder und Schwester wider. Während dieses Modell von Léon Maillard auf 1890 datiert wurde, erschienen erst um 1900 zwei Abgüsse aus Bronze. Zunächst war es 1899 in Gips in der Wiener Secession ausgestellt worden, dann in Brüssel und in den Niederlanden, und schließlich wurde es ab 1900 in Bronze präsentiert. Diese Gruppe, die als Teil der Retrospektive von Pont de l‘Alma im selben Jahr zu sehen war, war (vor allem in den angelsächsischen Ländern) ein großer Erfolg.Provenienz:Sammlung Edgar J. Hesslein und Emily Hesslein geborene Rothenstein, Schwester des Malers William Rothenstein, ein Londoner Freund Rodins ab 1894.Auktion Sotheby‘s, London, 11. April 1962, Lot 48.M.G. Blair Laing, London und Toronto, bei obiger Auktion erworben.Blair Laing Galleries, Toronto.Privatsammlung, Kanada, bei obiger Galerie im Juni 1962 erworben.Danach im Erbgang an den Vorbesitzer.Anmerkung:Abgüsse, die zu Lebzeiten des Künstlers hergestellt wurden (Schätzung):– 6 Exemplare, die zwischen 1897 und 1901 von François Rudier gegossen wurden.– 3 Exemplare gegossen von Léon Perzinka zwischen August und September 1900.– 1 Exemplar gegossen von Montagutelli im Jahr 1913.– 19 Exemplare, die von Alexis Rudier zwischen 1902 und 1916 gegossen wurden.Vom Musée Rodin angefertigte Güsse (Schätzung):– 6 Exemplare, die von Alexis Rudier zwischen 1926 und 1928 gegossen wurden.– 6 Exemplare, gegossen von Alexis Rudier zwischen 1940 und 1950.– 9 Exemplare, die von Georges Rudier zwischen 1962 und 1965 gegossen wurden.Güsse dieser Gruppe befinden sich in:Boston, Museum of Fine Art, Sammlung H. Higginson 1921 (erworben 1900).Lissabon, Fondation Calouste Gulbenkian, seit 1970 (erworben durch Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, Sammlung James Smith 1927 (erworben bei Glaenzer and Co 1901).Cambridge, Fitzwilliam Museum, Sammlung G. F.M Knowles 1952 (erworben 1903).Dublin, National Gallery of Ireland, Sammlung Hugh Lane 1918 (erworben 1906).New York, Metropolitan Museum of Art, Rogers Fund (erworben 1908).Lille, Musée des Beaux-Arts, Sammlung Denise Masson, 1998 (erworben durch Maurice Masson 1910).Glasgow, Burrel collection, Spende von William Burrel 1944 (erworben vor 1911).Le Cap, South African National Gallery, Spende von A.A. de Pass 1926 (Geschenk von Rodin an A. Legros; Sammlung A.W. Thibaudeau; Sammlung I.P. Heseltine).Aix-les-Bains, Musée Faure, Sammlung Dr. Faure 1942 (erworben zwischen 1937 und 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Sammlung Harry J. Milligan 1920.Oxford, Ashmolean Museum, Sammlung J.W.R. Brocklebank, 1926.Kopenhagen, Ordrupgaard Sammlingen, Sammlung Hansen, 1951 (erworben 1931).Tokio, Musée national d‘Art occidental, 1959 (erworben durch Kojiro Matsukata, 1918).Hamilton, Art Gallery, Sammlung H. Southam 1962.Philadelphia, Rodin Museum, Sammlung Louis Stern, 1963.Cambridge, Fogg Art Museum, erworben 1977 (alte Sammlung O. de Barge, Paris).Paris, Musée Marmottan, erworben 1987 (alte Sammlung Henri Duhem).Mexico, Museo Soumaya, erworben bei Christie‘s, New York, 1993. (1330113) (17)Auguste Rodin,1840 Paris – 1917 MeudonFRÈRE ET SOEUR, 1907Bronze casting, dark patina. 38.5 x 19.4 x 21 cm.Signed “A. Rodin”.Foundry mark “Alexis Rudier fondeur Paris”, raised signature on inside “A. Rodin”.Attached is a confirmation from the Comité Rodin, which assigns the object the catalogue raisonné no. 2021-6434B. The death of Rodin’s older sister Maria in 1862 prompted the young sculptor to join a religious order and abandon his art for many months. Sentimental affection is rare in Rodin’s sculptures; here it perhaps reflects the memory of the lost, sustaining love between brother and sister. While Léon Maillard dated this model to 1890, two bronze copies only appeared around 1900. It was first exhibited in plaster at the Vienna Secession in 1899, then in Brussels and the Netherlands, and finally, from 1900, it was presented in bronze. Shown as part of the Pont del’Alma retrospective that same year, this group was a great success (especially in Anglo-Saxon countries). Casts made during the artist’s lifetime (estimate): 6 examples cast between 1897 and 1901 by François Rudier. 3 examples cast by Léon Perzinka between August and September 1900. 1 example cast by Montagutelli in 1913. 19 examples cast by Alexis Rudier between 1902 and 1916. Casts made by the Musée Rodin (estimate): 6 examples cast by Alexis Rudier between 1926 and 1928. 6 specimens cast by Alexis Rudier between 1940 and 1950. 9 specimens cast by Georges Rudier between 1962 and 1965.Provenance: Collection of Edgar J. Hesslein and Emily Hesslein née Rothenstein, sister of the painter William Rothenstein, a London friend of Rodin from 1894. Sotheby’s, London, 11 April 1962, lot 48.M.G. Blair Laing, London and Toronto, acquired at the above auction. Blair Laing Galleries, Toronto. Private collection, Canada (acquired from the above gallery in June 1962). Then by inheritance to the previous owner. Notes:Casts from this group are held at: Boston, Museum of Fine Art, H. Higginson collection 1921 (acquired in 1900).Lisbon, Calouste Gulbenkian Foundation, since 1970 (acquired by Comtesse de Béarn 1901).Liverpool, Walter Art Gallery, James Smith collection 1927 (acquired at Lille, Musée des Beaux-Arts, Denise Masson collection, 1998 (acquired by Maurice Masson 1910).Glasgow, Burrel collection, donation by William Burrel 1944 (acquired before 1911).Le Cap, South African National Gallery, donation by A.A. de Pass 1926 (gift by Rodin to A. Legros; A.W. Thibaudeau collection; I.P. Heseltine collection).Aix-les-Bains, Musée Faure, Dr Faure collection 1942 (acquired between 1937 and 1942).Paris, Musée Rodin, Alexis Rudier 1922.Indianapolis, Museum of Art, Harry J. Milligan collection 1920.Oxford, Ashmolean Museum, J.W.R. Brocklebank collection, 1926.Copenhagen, Ordrupgaard Sammlingen, Hansen collection, 1951 (purchased 1931).Tokyo, Musée National des Beaux-Arts de l'Occident, 1959 (purchased by Kojiro Matsukata, 1918).Hamilton, Art Gallery, H. Southam collection 1962.Philadelphia, Rodin Museum, Louis Stern collection, 1963.Cambridge, Fogg Art Museum, purchased 1977 (old collection of O. deBarge, Paris).Paris, Musée Marmottan, purchased 1987 (old collection Henri Duhem).Mexico, Museo Soumaya, purchased at Christie's, New York 1993.

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Hampel Fine Art Auctions
Lot 738

Auguste Rodin, 1840 Paris – 1917 MeudonMAIN DE DIEU Modell um 1900, jedoch vor 1905, posthumer Guss von 1943Bronze, gegossen und schokoladenbraun patiniert.15,5 x 16,7 x 15,2 cm.Außen signiert „A. Rodin“, innen erhaben signiert „A. Rodin“, außen mit Gießerstempel „A. Rudier fondeur Paris“.Einer von nur zwei Güssen aus dem Jahr, bei einer weltweiten Gesamtauflage von fünf Güssen.Beigegeben ein Gutachten der Comité Auguste Rodin vom 5. Februar 2022, in Kopie. Aus dem Gutachten geht hervor, dass der Guss 1943 zu datieren ist, da in diesem Jahr Dokumente bezeugen, dass 11 Stunden an der Ziselierung und eine Stunde an der Montierung der Bronze gearbeitet worden sind und eine Reduktion eines größeren Marmorvorbildes darstellen, das im Musée Rodin verwahrt wird. Dier hier angebotene Bronze wird unter der Werkverzeichnisnummer 2022-6532B geführt.Die „Hand Gottes“ ist ursprünglich 1895 von Rodin nach der rechten Hand eines Bürgers von Calais, Pierre de Wissant, in Gips modelliert worden, welche ein sich umschlingendes Paar hält. Im Jahre 1905 entsteht eine große Marmorskulptur nach dieser Gipsausformung. Von diesem ersten Marmor ließ er dann eine halbgroße Verkleinerung anfertigen, dessen Größe mit den Maßen unserer Bronze übereinstimmt. „Hand Gottes“, „Hand des Schöpfers“, sie kann vor allem symbolisch als die Hand des Bildhauers, während dieser in vollem Ruhm steht und als der größte Künstler seiner Zeit anerkannt wird, interpretiert werden. Aus verlegerischer Sicht ist die Auflage des Modells gering, denn es sind nur fünf Exemplare bekannt. Unseres ist besonders, denn nicht nur der Guss wurde von Eugène Rudier, der der bevorzugte Gießer Rodins und des Museums war, hergestellt, sondern es ist auch das Exemplar aus dessen persönlichen Sammlung. Nach 1917 war Eugène Rudier sowohl Gießer als auch Händler von Rodin, kaufte Bronzen im Hôtel Drouot, um sie weiterzuverkaufen. Er war auch ein Sammler von Bronzegüssen, die häufig von ihm selbst hergestellt wurden. Die Erfahrung zeigt, dass es sich dabei immer um sehr schöne Güsse handelt.Provenienz: Musée Rodin, Paris.Sammlung Eugène Rudier.Privatsammlung, New Jersey, USA. (1330114) (13)Auguste Rodin,1840 Paris – 1917 MeudonMain de dieu,Model ca. 1900 however before 1905, posthumous casting ca. 1943Bronze casting, with chocolate brown patina. 15.5 x 16.7 x 15.2 cm.Signed on outside “A. Rodin”, raised signature on inside “A. Rodin”, outside with foundry mark “A. Rudier fondeur Paris”.One of only two castings dating to 1943 with a total global limited edition of five.Accompanied by the expert’s report by the Comité Rodin dated 5 February 2022, in copy. The expert’s report makes it clear that the casting dates to 1943, as documents during this year testify that it took eleven hours to chisel and one hour to mount the bronze, representing a reduction of a larger marble model held at the Rodin Museum. The bronze on offer for sale in this lot is listed in the catalogue raisonné with no. 2022-6532B. The “Hand of God” was originally modelled in plaster by Rodin in 1895 after the right hand of a citizen of Calais, Pierre de Wissant, holding an entwining couple. In 1905 a large marble sculpture was created from this plaster mould. He then had a half-sized reduction made from this first marble, the size of which corresponds to the dimensions of our bronze. Hand of God or Hand of the Creator as it can be interpreted symbolically, represents above all the hand of the sculptor at the zenith of his career and recognized as the greatest artist of his time. This is an extremely small number of a limited edition with only five copies ever produced. The casting on offer for sale in this lot is exceptional because not only was the casting made by Eugène Rudier, Rodin’s and the museum’s preferred founder, but it is also a specimen from his personal collection. After 1917, Eugène Rudier was both a founder and art dealer of Rodin, buying bronzes from Hôtel Drouot for resale. He was also a collector of bronze castings, often created by himself. Experience shows that these are always very beautiful castings.Provenance: Musée Rodin, Paris. Eugène Rudier collection. Private collection, New-Jersey, USA.

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Hampel Fine Art Auctions
Lot 739

Bernhard Hoetger, 1874 Hörde – 1949 InterlakenFruchtbarkeit, vor 1949Bronzeguss, dunkel patiniert.42,9 x 40,5 x 22,8 cm.Signiert „B. Hoetger“, Gießereimarke „F. Barbedienne Fondeur“.Eine Bronzeausformung des Modells wurde im Salon d‘Automne von 1904 unter Nr. 1765 ausgestellt, noch bevor Hoetger und Maillol sich begegnet waren – eine der letzten seiner im Stile Rodins entstandenen Bildwerke. Der Vertrag mit Barbedienne zum Guss zum Beispiel unserer Bronze kam am 14. Oktober 1937 zustande.Literatur:Das Modell wird besprochen in: Florence Rionnet, Les Bronzes Barbedienne. L‘oeuvre d‘une dynastie de fondeurs, Paris 2016, Kat.Nr. 1490. (1330112) (13)Bernhard Hoetger,1874 Hörde – 1949 InterlakenFERTILITY, before 1949Bronze casting, dark patina. 42.9 x 40.5 x 22.8 cm.Signed “B. Hoetger”.Foundry mark “F. Barbedienne Fondeur”.A bronze casting of the model was exhibited at the 1904 Salon d’Automne with no. 1765, even before Hoetger and Maillol met – one of the last of his pictorial works created in the style of Rodin. The contract with Barbedienne to cast the bronze on offer for sale here, for example, came about on 14 October 1937.Literature: The model is discussed in: Florence Rionnet, Les Bronzes Barbedienne. L’oeuvre d’une dynastie de fondeurs, Paris 2016, cat. no. 1490.

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Hampel Fine Art Auctions
Lot 740

Antoine-Louis Barye, 1796 – 1875Vor Hunden flüchtender Bär, nach 1870Bronzeguss, braun patiniert.30,8 x 43,6 x 20,8 cm.Signiert „Barye“.Auf einem felsigen Bodenstück drei Jagdhunde einen sich aufbäumenden Bären mit aufgerissenem Maul reißend. Interessante variantenreiche grünbraune Patina. Dieses Meisterwerk Baryes besticht durch seine Kraft und das Feuer, mit dem der Bär und die Hunde in einem wilden Rennen nach vorne stürmen. Die alten Güsse dieses Modells scheinen nicht mehr als 20 Exemplare zu umfassen.Literatur:Vgl. A.-L. Barye. Rétrospective de l‘oeuvre, Paris, Galerie Univers du Bronze, 28. November - 30. Dezember 2000, Paris, 2002.Vgl. Stuart Pivar, The Barye Bronzes, Woodbridge 1974, Referenzmodell: A 8.Vgl. Michel Poletti, Alain Richarme, Barye. Catalogue Raisonné des sculptures, Paris 2000, S. 133, Referenzmodell: A 11. (1330111) (13)Antoine-Louis Barye,1796 – 1875BEAR FLEEING FROM DOGS, AFTER 187030.8 x 43.6 x 20.8 cm.Signed “Barye”.Bronze casting, brown patina.Literature: cf. A.-L. Barye. Rétrospective de l’oeuvre, Paris, Galerie Univers du Bronze, 28 November - 30 December 2000, Paris, 2002. cf. Stuart Pivar, The Barye Bronzes, Woodbridge, 1974, reference model: A 8. cf. Michel Poletti and Alain Richarme, Barye, Catalogue Raisonné des sculptures, Paris, 2000, p. 133, reference model: A 11.

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Hampel Fine Art Auctions
Lot 743

Giorgio de Chirico, 1888 Volos – 1978 RomLe Muse Inquietanti (Die beunruhigten Musen)Aquarell/ Gouache auf Karton.36,5 x 25,5 cm.Mittig unten signiert „G. de Chirico“.Unter Glas gerahmt.Das Original, ein Ölgemälde auf Leinwand mit den Maßen 97 x 67 cm, wurde während des Ersten Weltkriegs zwischen 1917 und 1918 gemalt, als De Chirico in Ferrara war. An der Vorderseite sind die beiden Musen, gekleidet in klassische Kleidung. Eine steht und die andere sitzt, und sie sind zwischen verschiedenen Objekten platziert, darunter eine rote Maske und beim Original ein roter Stab, eine Anspielung auf Melpomene und Thalia, die Musen der Tragödie und Komödie. Beide Figuren haben den Kopf einer schneidernden Schaufensterpuppe. Der Künstler war bekannt für die Herstellung von Repliken seiner eigenen Kunst und fertigte zwischen 1945 und 1962 viele Repliken von „The Disquieting Muses“ an. Das hier angebotene Werk ist eine Replik. Nicht zuletzt gibt es auch Darstellungen der beiden Figuren als Bronze- und Metallplastik. (†)Provenienz:Artcurial, Paris. Sotheby‘s, London, 27th February 2019, Lot 135. (13220112) (18

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Hampel Fine Art Auctions
Lot 745

Paul Gauguin, 1848 Paris – 1903 Atuona auf Hiva Oa, Französisch-PolynesienDolch mit Scheide in BronzeGesamtlänge: 34,5 cm. Dolch ohne Scheide: 30,5 cm.Feine figürliche Radierung und Signatur „P. Go“.Aufgelegt auf Acryl-Sockelung.Beigegeben zwei Expertisen: eine von Douglas Cooper, Monte Carlo, 29. März 1985, sowie eine von Cl. Raimond Lépine, Paris, 14 Januar. Gauguin schuf das Modell zu diesem Dolch nach Vorbildern des Kunsthandwerks der polynesischen Kultur. Das Interesse an der Schaffung eines solchen Gegenstandes erklärt sich nicht zuletzt dadurch, dass Gauguin zeitlebens ein passionierter Fechter war. Der Griff plastisch gestaltet mit erkennbaren Fabelwesen. Die zweischneidige Klinge in Eisen. Die Scheide röhrenförmig, entsprechend eines Bambusrohres, leicht geschweift, daran feine figurative Ätzungen sowie die Signatur „P. Go“.Anmerkung:Douglas Cooper verweist in seiner Expertise auf die Kurzsignatur, die Gaugin auch auf seinen Gemälden erstmalig ab 1888 für einen Zeitraum von fünf oder sechs Jahren verwendete, eine Datierung der Form zwischen 1887 und Ende 1889 liegt deshalb nahe.Literatur:Gaston Varenne, Les bois grave‘s et sculpte‘s de Paul Gauguin, in: La Renaissance de l‘art français et des industries de luxe, Nr. 12, Dezember 1927, mit Text und Abbildung des Objektes, in Kopie beigegeben. (1330651) (1) (11)Paul Gauguin,1848 Paris – 1903 Atuona at Hiva OA, French PolynesiaDAGGER WITH BRONZE SCABBARD Total length: 34.5 cm. Dagger excl. scabbard: 30.5 cm.Fine figural etching and signature “P. Go”.Placed on acrylic base. Accompanied by two expert’s reports, one by Douglas Cooper, Monte Carlo, 29 March 1985, the other by Cl. Raimond Lépine, Paris, 14 January. Gauguin created the model for this dagger based on Polynesian crafts. The handle is designed three-dimensionally with recognizable mythical creatures and a double-edged iron blade. The scabbard is tubular, like a bamboo cane, slightly curved, with fine figurative etchings and the signature "P. Go". Notes: In his report Douglas Cooper refers to the short signature that Gauguin also used on his paintings for the first time from 1888 for a period of 5 or 6 years, so a dating between 1887 and the end of 1889 seems likely.Literature:Publication Direction Henry Lapauze, La Renaissance de l’art français, December 1927, with text by Gaston Yarenne, and illustration of the object (copy enclosed).

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Hampel Fine Art Auctions
Lot 748

Kopf eines RömersHöhe: 31 cm.Bodenseitig signiert „Hagenauer Wien“ sowie mit Stempelsignée.Wien, erste Hälfte 20. Jahrhundert.Bronze, gegossen, poliert. Auf rechteckiger Basis, in Flachrelief gestaltet, eine nach links gerichtete Figur mit gelockter Frisur. (1331365) (13))

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Hampel Fine Art Auctions
Lot 75

Paar Potpourri-VasenHöhe: 23,5 cm.Frankreich oder England, 19. Jahrhundert.In Granit gearbeitete Körper mit ziselierter Bronzemontierung im Louis XVI-Stil mit Blütenfestons und Louis XVI-Schleifen sowie à jour gearbeiteter Galerie. (13318116) (13)A pair of potpourri vasesHeight: 23.5 cm.France or England, 19th century.Granite vessels with chased bronze mounts in Louis XVI style with flower festoons and Louis XVI loops and openwork gallery. Damaged, restored and mended.

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Hampel Fine Art Auctions
Lot 76

Paar Ormolu-Kandelaber mit KristallbehangHöhe: 52 cm. Breite: 36 cm.Frankreich, erste Hälfte 19. Jahrhundert.Bronze, gegossen, ziseliert und vergoldet, Behang in Bergkristall und facettiertem Glas. Über konisch zulaufendem gestuftem und ornamental verziertem Rundfuß der balustrierte Schaft mit vier geschwungenen Armen in Vasenbrennstellen endend, die von gegossenen Widderköpfen überfangen werden. Die Arme durch Kristallglasketten und facettiertem Behang miteinander verbunden, durch zentrale Brennstelle überhöht, sowie von großen Bergkristalltropfen geschmückt. (13318115) (13)A pair of ormolu and crystal candelabraHeight: 52 cm.Width: 36 cm.France, first half of the 19th century.Bronze; cast, chased and gilt.

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Hampel Fine Art Auctions
Lot 766

Sirio Tofanari, 1886 – 1969Macaco, 1914Bronzeguss, braun patiniert.40 x 22 x 22 cm. Höhe der Basis: 5 cm.Signiert und datiert „1914“. Fonderia G. Vignali, Florenz.Auf quadratischem grünem Marmorsockel.Tofanari, der seine Studien unter anderem im Natural History Museum in South Kensington, London, betrieb, war von 1914-1918 im Krieg, sodass dass hier angebotene Modell noch entstanden sein muss, bevor er eingezogen wurde. (1330393) (13)Sirio Tofanari,1886 – 1969Macaco, 1914Bronze casting, with brown patina.40 x 22 x 22 cm. Height of base: 5 cm.Signed and dated “1914”. Fonderia G. Vignali, Florence.On square green marble base. Tofanari, who conducted his studies at the Natural History Museum in South Kensington, London, among other places, was at war from 1914-1918, so the model offered here must have been made before he was conscripted.

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Hampel Fine Art Auctions
Lot 767

Georges Lavroff, 1895 – 1991 MoskauSkulptur eines PanthersGesamthöhe: 26 cm. Sockelmaß: 59 x 15 cm.Bezeichnet „MARCEL GUILLEMARD 52 BRONZE“.Bronze, braun patiniert. Auf schwarzem, zweifach abgestuftem Marmorsockel. Der schlanke elegante Panther vorsichtig nach vorne schleichend, dabei mit geöffnetem Maul auf der Jagd. Sockel best., Gebrauchssp. (1321993) (18))

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Hampel Fine Art Auctions
Lot 81

Paar KaminböckeHöhe: je 27,5 cm.Breite: je 20 cm.Tiefe: 36 und 33 cm mit Stellfuß.18. Jahrhundert.Als Gegenstücke, in Bronze feuervergoldet, mit eisernem, verschraubtem Stellfuß. Gestaltet mit einer hochziehenden Rocaille mit Blatt- und Blütenwerk. Einer rest., teils Gebrauchs- und Oxidationsspuren. (1320036) (18))

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Hampel Fine Art Auctions
Lot 82

Paar Leuchter im Louis XVI StilHöhe: 29,5 cm.Frankreich, 19. JahrhundertBronze, gegossen, ziseliert und vergoldet. Über rundem Stand mit risalitartigen Vorsprüngen der offen gearbeitete Schaft mit Köcher und Cherubimdekor mit fruktalem Behang. Dieses Modell von Etienne Martincourt (Bildhauer, Modellierer, Bronzegießer, Meister im Jahr 1762) befindet sich in mehreren renommierten Sammlungen wie der Wallace Collection (London), dem British Museum (London) und dem Getty Museum (Los Angeles). (1330311) (13))

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Hampel Fine Art Auctions
Lot 83

Paar Kandelaber im Goût grecHöhe: 66 cm.Durchmesser: 20 cm.Signiert „F. Levillain“ und „F. Barbedienne“.Frankreich, um 1880.Paar dreiflammige Kandelaber in patinierter Bronze. Jeder Leuchter ist in Form einer dreibeinigen Amphore, die mit Herkulesköpfen verziert ist, gestaltet, in Flachrelief auf dem Körper antike Opferszenen. Zahlreiche Masken, Weinzweige, Musikinstrumente und andere Trinkgefäße vervollständigen das neugriechische Dekor auf der Vase. Die Vase ruht auf einem Sockel aus rotem Griotte-Marmor. Es ist möglich, dass dieser Vasentyp von der Bronzevase abgeleitet wurde, die von Ferdinand Levillain auf dem Salon auf dem Salon von 1875 unter dem Titel „Das Opfer“ (Nr. 1328) ausgestellt wurde. Zweifellos war sie in dem von Barbedienne 1880 veröffentlichten Katalog enthalten. Ferdinand Barbedienne verbreitete die Werke von Ferdinand Levillain und machte sie einem breiten Publikum bekannt. Dabei zögerte er nicht, seine Vasen in Lampen zu verwandeln. Levillain akzeptierte diese Praxis, wie Colin berichtete: „Levillain fühlt sich nicht entehrt, weil seine Vase in Licht verwandelt wird“ (in Exposition universelle internationale de 1889 à Paris, Rapports du jury international, classe 25 bronzes d'art, fontes d'art diverses, ferronerie d'art, métaux repoussés, E. Colin, Paris, imprimerie nationale, 1891, S. 17). Ein Bild dieses Modells befindet sich in der Abteilung für Drucke und Abteilung für Drucke und Fotografien der französischen Nationalbibliothek (Levillain Fa57, S. 111 und S. 113 Modell mit Lichtarmen).Anmerkung:Als Vergleichsstücke können im Musée d'Orsay in Paris eine vergoldete Vase (Inv. Nr. OAO68) und eine vergoldete Schale (Inv. Nr. OAO69) herangezogen werden. (13305014) (1) (17))

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Hampel Fine Art Auctions
Lot 88

Paar Empire-Tischkerzenständer nach Entwurf von Claude Galle (1758- 1815)Höhe: je 32 cm.Frankreich, um 1800.Bronze, feuervergoldet. Weite Rundbasis mit Palmettenfries; der Schaft unterhalb der Tülle dreiseitig mit Frauenköpfen bestückt, setzt mit einer Kugel an, darauf Löwentatzen, darüber glatte, nach oben sich weitende Wandung. Tülle über den Frauenköpfen mit dem Sockelteller entsprechenden Palmetten. A.R. (1331092) (1) (11))

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Hampel Fine Art Auctions
Lot 96

Paar Empire-TischkerzenständerHöhe: je 25 cm.Frankreich, ausgehendes 19. Jahrhundert. Bronze, wohl neu vergoldet. Weite Rundbasis mit Flechtwerk-Reliefdekorbordüre; der Schaft setzt mit Lotosblättern an, darüber dreiteilige Fortsetzung mit fein ziseliertem Relief und Traubenranken im Zwischenband. (1331097) (1) (11))

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Hampel Fine Art Auctions
Lot 971

Herman Frederik Bieling, 1887 Rotterdam – 1964 RhoonKopf in BronzeHöhe: 43,7 cm. Breite: 19,0 cm.1920er-JahrePatinierte Bronze. Neben den großen Künstlernamen seiner Wirkungszeit ist Bieling weitgehend im Hintergrund des allgemeinen Wissens um die Kunst des Kubismus und der schon frühen Moderne in Europa geblieben. Bieling wirkte als Maler und Bildhauer, wobei seine plastischen Werke einen enorm hohen Bedeutungsgrad erreicht haben. Wie viele seiner berühmt gewordenen Zeitgenossen wie Heckel, Nolde oder Pechsteil, orientierte er sich auch an der afrikanischen Kunst, was auch seine Holzschnitte zeigen. Die Bildnisse seiner Plastiken lassen in erstaunlicher Weise den Portraitierten erkennen, trotz extremer kubistischer Formenreduktion. Hier stehen seine Werke zumeist weit über vergleichbaren seiner Zeitgenossen. 1917 gründete er eine Künstlervereinigung „De Branding“, zu der auch Laurens van Kulk, Ger Ladage, Bernard Toon Gits und andere zählten. Die Vereinigung stand in engem Kontakt mit anderen Gruppierungen, wie De Stijl oder Der Sturm. Bieling veranstaltete mehrfach Ausstellungen für Otto Gleichmann, Kurt Schwitters, Constantin Brancusi und Mondriaan, zusammen mit seinen Werken. 1932 stellte er zusammen mit Braque, Van Dongen, Kandinsky, Chagall, Matisse, Klee, Mondriaan, Picasso und anderen aus. 1939 wurde auch sein Werk in der Ausstellung „Onze Kunst van Heden“ im Rijksmuseum in Amsterdam ausgestellt, die letzte Präsentation der Moderne vor dem Zugriff des NS-Regimes.Werke seiner Hand wurden ab 1917 bis 2003 ausgestellt und befinden sich in zahlreichen öffentlichen Museen und privaten Sammlungen.Provenienz:In den 1930er-Jahren durch Hermen Molendijk (1896-1983), Stadtrat von Groningen, später Bürgermeister von Amersfoort, direkt vom Künstler erworben, seitdem im Familienbesitz.Literatur:Jan Cees van Duin, Herman Bieling. De strijdbare voorman van de Rotterdamse kunstenaarsfederatie „De branding“ (1917-1926), Rotterdam 2017.Els Brinkman, De Branding 1917-1926. Stichting Kunstpublicaties, Rotterdam 1991.Ed Wingen, Herman Bieling. Gemeente Allbrandswaard6, Niederlande 2003.A.R. (1331171) (11))

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Czerny International Auction House Ltd.
Lot 115

dating: late 18th Century provenance: Gardone Val Trompia, Smoothbore, two-stage, 11 mm cal. barrel, the first part octagonal with mark (not legible) and 'A TORTIGLIONE,'; beautiful snaphaunce lock engraved with floral motifs, inside signed 'Razzuoli.' Full stock (minor restorations) with beautiful bronze mounts engraved with floral motifs, the counterplate with a hound and provided with an iron belt hook. Brass-tipped wooden ramrod and iron cartridge extractor. length 25.5 cm.

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Czerny International Auction House Ltd.
Lot 119

dating: Second half of the 18th Century provenance: Tuscany, Round, smoothbore, 13 mm cal. barrel, ribbed at the base and signed 'LAZARI COMINAZ' in two rows; lock engraved with floral motifs (areas with rust damage), floral-carved batterie and sliding pan cover. Briarwood stock with restorations. Beautiful bronze mounts engraved with floral motifs, pierced counterplate. Horn-tipped wooden ramrod. length 29 cm.

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Czerny International Auction House Ltd.
Lot 12

dating: Third quarter of the 19th Century provenance: USA, Round rifled 22 rimfire cal barrel, with front sight and address; seven-shot cylinder, nickel-plated like the barrel, bronze frame marked '22 CAL', serial number '10xxx', blued spur trigger and hammer, wooden grip scales. Working mechanism. length 15

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Czerny International Auction House Ltd.
Lot 120

dating: Second half of the 18th Century provenance: Anghiari, Small-sized, with smoothbore, two-stage, 10 mm cal. barrel, rings at the girdle; elegant lock, the screws with carved masks, floral-carved batterie, engraved edge and sliding pan cover, inside marked 'IL G' for Il Guardiani. Slightly carved wooden stock with beautiful bronze mounts engraved with floral and geometric motifs. Horn-tipped wooden ramrod and iron cartridge extractor. length 19.5 cm.

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Czerny International Auction House Ltd.
Lot 192

dating: Early 19th Century provenance: Colchester, Round, smoothbore, iron, turn-off, 12 mm cal. barrel, engraved at the edges; bronze frame of oval section signed 'HAST' and, on the other side 'Colchester', finely engraved with trophies, bronze pan, safety lock, cock, batterie and iron, foldaway trigger. Micro-checkered, wooden butt with bronze butt-plate finely engraved with floral motifs. For Philip Hast see 'Der Neue Stöckel', vol. I, p. 504. length 15 cm.

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Czerny International Auction House Ltd.
Lot 200

dating: circa 1800 provenance: London, Round, bronze, smoothbore, turn-off, 11 mm cal barrels, engraved at the nozzle; boxlock-type frames worked also in bronze, under marked 'V' under crown and 'GP' under crown, on side marked 'LONDON' on a trophy, on the other side a trophy with flags; iron cocks, batteries, and foldaway triggers. Wooden butt with filigree-decorated edge (minor missing parts). length 13.5 cm.

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Czerny International Auction House Ltd.
Lot 250

dating: 1840 provenance: Sardinia, Smoothbore, octagonal, 11.5 mm cal. barrel engraved with sun and floral motifs, marked 'P.Bj 199', sun and foresight both of bronze; lock signed 'Barbuti', engraved and carved. Wooden stock mostly covered with steel sheets, richly engraved, carved and partially pierced with floral motifs, the counterplate with two intertwined snakes; typical butt, carved stave on the back. Long iron ring guard engraved with the date '1840'. Iron ramrod with thickened tip. Good-quality. length 143 cm.

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Czerny International Auction House Ltd.
Lot 252

dating: Second half of the 18th Century provenance: Bologna, Smoothbore, two-stage, 15 mm cal. barrels, round after rings, the upper one with 'PISTOIA' mark under the gold crown and with foresight; tang with two screws. Very long modern-style lock with oblique edges and carved spring, inside one is signed 'SPIRIDIONE' and the other 'BACULINI' (working mechanism). Beautiful briarwood half case (small lacking parts) sculped with lilies and floral motifs, the butt on the right side with two grooves, only one groove on the opposite side; very fine bronze mounts, engraved and partially pierced with floral motifs, the ring-guard with monogram. Under the butt there is a small rosette containing a needle to clean the vents. Two engraved and pierced barrel brackets. Horn-tipped wooden ramrod with iron cartridge extractors. For Spiridione Baculini see Barbiroli page 77 length 139 cm.

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Czerny International Auction House Ltd.
Lot 356

dating: 17th Century provenance: Brescia, Body shaped as a truncated cone, smooth, flat on the back. The upper and lower edges covered with an engraved bronze plate and with wavy and pointed edge. Missing fuse. Opening spring made of carved iron. Four suspension rings. height 20 cm.

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Czerny International Auction House Ltd.
Lot 47

dating: 1875-1890 provenance: USA, Round, rifled, 22 rim fire cal barrel marked 'WHITNEYVILLE ARMORY CT. USA', blued, with front sight. Smooth, seven-shot cylinder, browned. Bronze frame with spur trigger. Wooden grips. Working mechanism. Serial number '35xxR'. length 17.5 cm.

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Czerny International Auction House Ltd.
Lot 50

dating: provenance: USA, Octagonal, rifled, 32 cal rimfire barrel, marked 'HORNET No. 1'; serial number '26xx', smooth, iron seven-chamber cylinder, bronze frame with remains of nickel-plating; beak-shaped butt with wooden grips. Mechanism needs revision. length 15.5 cm.

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Czerny International Auction House Ltd.
Lot 52

dating: Third quarter of the 19th Century provenance: USA, Octagonal, rifled, 30 cal barrel, with silver sight, blued, marked 'EAGLE ARMS & CO NEW YORK' smooth, blued, six-shot cylinder with patents; frame made of nickel-plated bronze, spur trigger, wooden grips, serial number '34xx', marked 'APG'. Working mechanism. length 19.5 cm.

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Czerny International Auction House Ltd.
Lot 53

dating: Third quarter of the 19th Century provenance: USA, Octagonal, rifled, 28 cal barrel with rib marked: 'CONN. ARMS. CO. NORFOLK CONN.', silver front sight; six-chamber cylinder with remains of browning, with patents; bronze frame with spur trigger, wooden grips. Serial number '044xx'. Working mechanism. length 19.5 cm.

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Czerny International Auction House Ltd.
Lot 9

dating: Third quarter of the 19th Century provenance: USA, Round, rifled, 41 rimfire cal barrel, marked 'COLT', with front sight; smooth, silver-plated bronze frame, marked with the caliber, spur trigger, wooden grips, serial number '68xx'. Working mechanism. length 13.5 cm.

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Czerny International Auction House Ltd.
Lot 97

dating: circa 1800 provenance: London, Smoothbore, bronze barrel with bell-mouthed, moulded nozzle, marks of the London test bench below, worked in one piece with the box-lock type frame, engraved with trophies. Iton hammer, batterie, secure-lock, bayonet, trigger guard and trigger. Wooden butt. Iron side ramrod. length 31 cm.

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Auctioneum - Bath & East Bristol Auctions
Lot 111

A WWII Second World War Third Reich Nazi German Kriegsmarine High Seas Fleet badge. The badge having a forward sailing battleship to the centre surrounded by an outer bronze colour wreath of oak leaves with the German Eagle to the top clutching a Swastika. Unmarked to the reverse. Note; from a large private collection of militaria. Due to the nature of some items, buyers are reminded for the need to satisfy themselves as to originality / origin / condition prior to bidding, irrespective of any description. No guarantees are implied nor offered and all lots remain sold 'as is'. 

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Auctioneum - Bath & East Bristol Auctions
Lot 166

Two WWII Second World War Third Reich German Nazi Mothers Cross / Cross Of Honour Of The German Mother medals comprising; Silver example (2nd Class) with early Hitler dedication and Bronze (3rd Class) along with a presentation box. Note; from a large private collection of militaria. Due to the nature of some items, buyers are reminded for the need to satisfy themselves as to originality / origin / condition prior to bidding, irrespective of any description. No guarantees are implied nor offered and all lots remain sold 'as is'. 

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Auctioneum - Bath & East Bristol Auctions
Lot 168

A collection of assorted WWII Second World War US United States campaign medals comprising; Purple Heart, The Air Medal, China Service Medal (awarded to U.S. Navy, Marine Corps, and Coast Guard personnel), Bronze Star Medal and a Commemorating Victory medal.

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Auctioneum - Bath & East Bristol Auctions
Lot 177

A collection of assorted WWI First World War, WWII Second World War and other period campaign medals of Belgium. Medals comprising; First World War Fire Cross, 1914-1918 Commemorative War Medal, Centenary of National Independence Commemorative Medal, 1830–1930, Commemorative Medal of the War 1940-1945, Resistance Medal, Yser Medal, War Cross (with bronze palm & bronze lion), Order of Leopold II (Knight for Combatant) and Order of Leopold in the Military Division.

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Auctioneum - Bath & East Bristol Auctions
Lot 192

A collection of assorted WWI First World War, WWII Second World War and other period French campaign medals to include; Military Medal (3rd Republic & 4th Republic), The War Cross 1914-1918 with bronze star (for those who were mentioned at the regiment, battalion or brigade level), The Commemorative Medal for United Nations Operations in Korea, The Commemorative Medal of the 1870-1871 War, The Inter Allied Victory Medal and The Resistance Medal. All medals suspended on ribbons.

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Auctioneum - Bath & East Bristol Auctions
Lot 294

A WWI First World War commemorative death plaque / death penny medal, for one George Swales. Bronze construction, in typical form. Unboxed. Believed to be Bristol born.

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Criterion Auctioneers Ltd
Lot 261

A bronze effect resin and concrete bust of a young female with hair in a bun, unsigned. H.48 W.43cm.

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Setdart Subastas S.L
Lot 109

CHARLES ANFRIE (France, 1833-1905)."Cuirassier soutenant un soldat blessé".Gilt bronze.Signed on the base.Measurements: 80 x 45 x 31 cm.The sculptor Charles Anfrie was an outstanding bronze artist, valued for the detail with which he describes the costumes and the verism captured in the features. In this scene, a cuirassier from the Franco-Prussian War holds a wounded soldier. Their posture is charged with heroism and a certain religiosity, recalling the theme of the Pieta. The different qualities and textures of the costumes have been recreated with painstaking attention to detail.French sculptor, active in Paris. He produced mainly bronze works in the spirit of academicism and naturalism. Many works refer to historical and mythological themes, as well as everyday life.

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Setdart Subastas S.L
Lot 137

ANTOINE GAULIN (Active in Paris from 1779 to 1830). Transitional Louis XVI-Imperial portico clock. France, late 18th-early 19th century.Belgian marble, white marble and gilt bronze.Signed Antonie Gaulin ("Gaulin à Paris").In need of overhaul and overhaul (by a watchmaker). The winding is missing. Normal wear and tear due to use and the passing of time.Watches signed by this watchmaker are kept in the collection of the Banco de España. This is a very diverse collection that includes paintings, drawings, sculptures and photographs, as well as a large number of pieces of particular value in the decorative arts.Measurements: 38 x 26 x 9 cm.Portico clock, Louis XVI-Imperial transition, made in France at the end of the 18th century, beginning of the 19th century. It is made in Belgian marble in lateral columns and upper pediment, white marble in capitals and column bases decorated with gilded bronze ornaments in its totality, base of the pendulum, dial, reliefs of columns and two zodiacal signs of Capricorn in the upper part. Half-hour and hour chimes. Porcelain dial with Arabic numerals and gilt hands, signed Gaulin a Paris. An anthropomorphic solar representation evoking Apollo decorates the pendulum.Antoine Gaulin is documented in Paris as a master watchmaker in 1788. He had a workshop at 36 Quai de la Mégisserie from 1789 to 1830. He is also mentioned in the Almanach du commerce de Paris, des départemens de l'empire français et des principales villes du monde, dated 1811. Gaulin collaborated with bronze artists of the stature of Thomire.

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Setdart Subastas S.L
Lot 148

Chest of drawers; 20th century.Rosewood, marquetry, bronze and marble slab.Slight flaws in the marquetry and superficial scratches.Signed Herraiz.Measurements: 100 x 140 x 50 cm.Wooden chest of drawers from the 20th century with a design of classical inspiration. The piece is supported on four cabriole legs, with ornamental bronze appliqués that go from the foot to the upper part. On the front of the chest of drawers is a figurative design with two naked young women holding a garland. The rest of the chest of drawers is decorated with bronze mouldings and appliqués in the form of a garland. Founded in 1889, Casa Herraiz is dedicated to the manufacture of classic furniture, and enjoys great prestige both nationally and internationally. Their furniture is handcrafted, with an exceptional finish, built with fine woods, marquetry and high quality fittings. These high standards have been translated into important commissions, comprehensive decoration projects for embassies, town halls, ministries, hotels, luxury yachts and other important spaces.

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Setdart Subastas S.L
Lot 17

Sèvres style table centre, 19th century.Porcelain and gilt bronze. Painted decoration.Measurements: 25 x 23,5 x 17 cm.Sèvres porcelain centrepiece in the shape of a classic goblet, decorated on the outside in the style of the 18th century Sèvres coloured backgrounds, in this case with a cobalt blue background, specifically the one known as "Bleu Lapis", characterised by its irregular appearance, with waters of different tones. The decorations are painted in gilt enamel, following neoclassical models. The interior is decorated with a delicate floral motif.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly.

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Setdart Subastas S.L
Lot 19

JOSEP GUARDIOLA BONET (Barcelona, 1869 - 1950).Glazed ceramic dish. 1929.Signed and dated on the reverse.Very slight lack of polychrome on the sides.Measurements: 24.5 cm (diameter).A painter, draughtsman, sculptor and ceramic decorator, Guardiola began his training as an apprentice in the Verdaguer lithography workshop in Barcelona. Not satisfied with this discipline, he soon abandoned it to devote himself to copying landscapes, taking up painting with Luis Rigalt and Ramón Amadó. At the age of sixteen his membership of the Centre of Watercolourists opened his horizons to drawing and painting from life, and shortly afterwards he became one of the founders of the Artistic Circle. He was later admitted to the La Lonja School, where he trained for four years under the tutelage of Antonio Caba. In 1891 he went to Madrid to study the great masters of the Prado Museum, where he stayed for five months. On his return to Barcelona, however, he had to face the problem of how to earn an independent living, so he went to work in a mural painting workshop. There he spent two years as an apprentice and another two established in the company, before finally working for twenty-two years as a wall painter, working on his own. However, during this time he did not neglect his artistic facet, dedicating himself in parallel to the illustration of books and the publication of albums with his drawings, as well as collaborating with "La Renaixença" and "El Poble Català". He also appears as an editor in "De tots colours", and presents exhibitions at the Círculo Artístico and the Sala Parés. In 1918, he also began to write art pages for "La Vanguardia", a collaboration that continued until his death. He also produced, almost in secret, sculptures of great quality, including a bronze relief portraying his son, a work that always presided over his studio in memory of little Jordi. In fact, after his son's death in 1919, he would frequently sign his work as "Josep-Jordi Guardiola". His definitive success would finally come in his facet as a ceramist, thanks to his pieces decorated with all kinds of brightly coloured and richly coloured scenes. Economically settled, Guardiola travelled to Paris in 1922, leaving for Italy the following year. On his return he continued his exhibition activity and won several awards in Madrid (1924), Paris (1925), Philadelphia (1926) and Barcelona (1929). He also worked at the manufactory in Sèvres between 1934 and 1937.

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Setdart Subastas S.L
Lot 48

Napoleon III Chest. France, 19th century.Gilt and silvered bronze with Sevres plates.Measurements: 35 x 37 x 27 cm.Napoleon III jeweller's chest made of bronze and gilt bronze. Rectangular in shape, it has Sevres porcelain plaques inserted, all of them representing court scenes. The entire bronze surface has been worked with rich vegetal reliefs, while the equines are decorated with putti in high relief. The handle is richly decorated.

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Setdart Subastas S.L
Lot 5

Important SÈVRES vase. France, Napoleon III period, second half of the 19th century.Enamelled porcelain and gilt bronze.Signed "Georges Émile Poitevin" on the front.With Sèvres stamp inside the base and inside the lid.Measurements: 98 x 38 x 30 cm.Ornamental vase decorated with pictorial scenes, the front with an allegorical theme and the back with a landscape theme, both by Georges Émile Poitevin, a Parisian painter recorded as exhibiting many porcelain themes in the Paris Salons of the 1870s and early 1880s and listed by W.Neuwirth, Porzellanmaler-Lexicon 1840-1914. Poitevin has decorated the front with great care, depicting a robed lady in the classical manner surrounded by little angels of love dancing around her, one of them carrying a bow. Both the base on which the main body rests and the mouth of the vase are decorated with gilt fretwork, characteristic of the Sèvres style, combined with finely delineated floral and animalistic representations. Also noteworthy are the attributes of Cupid depicted on the mouth of the vase, with a quiver, a bow and a torch, objects closely related to the allegorical ornamentation on the front. The design of the vase is completed by bronze handles decorated with scrolls, as well as a circular base decorated with masks, an aspect typical of the aesthetic of the Sevrès manufacture.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as a central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.

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Setdart Subastas S.L
Lot 57

Harness. France, late 19th century.Marble and bronze.Measurements: 47 x 67 x 18 cm (clock); 47 cm (candlestick).This garniture consists of a table clock and a pair of candlesticks. The clock consists of a moulded podium, in which marble is combined with gilt-bronze fillets. The clock case sits on the podium or base, with a white porcelain dial and Roman numeral hour-markers. A slender figure rests on the clock case. The figure is a man wearing a long robe and a wide cloak, who writes while seeming to hold something in his other hand, which is no longer preserved. His stern character and elderly build suggest that he may be a philosopher. The candelabra, for their part, have rectangular bases on which the moulded shafts and arms of lights rest.

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Setdart Subastas S.L
Lot 69

Pair of French Napoleon III candlesticks, ca. 1860-70. After "CLODION" (Claude Michele, Nancy, 1738 - Paris, 1814).Patinated and gilded bronze.Marble base.Measurements: 120 cm (height) x 40 cm (diameter).Following the Louis XV style, characteristic of the renowned French sculptor Clodion, we are in front of a pair of bronze candelabra, each one of them with a body of lights with five curved arms, gilded and decorated with vegetal motifs. They have flaming lampshades. The light bodies are supported by round sculptures of patinated putti, whose grace and classicism are inspired by those of the prolific sculptor Clodion. They are a pair of curly-haired lovebirds, with carefully cared-for anatomies and soft, warm finishes. The naturalness of their gestures and postures is also remarkable. This type of candelabra was characteristic of the Paris of Napoleon III, when the Clodion style experienced a new boom.Claude Michel, known as Clodion, was born in Nancy, but in 1755 he moved to Paris to study in the workshop of his uncle, the sculptor Lambert Sigisbert Adam, with whom he remained for four years. After his uncle's death he became a pupil of Jean Baptiste Pigalle, Madame de Pompadour's favourite sculptor. His work soon began to be recognised and in 1759 he won the grand prize for sculpture at the Académie Royale. In 1761 he was awarded the first silver medal for studies on models, and a year later he was awarded the Grand Prix de l'Académie Royale, consisting of a pension to further his training in Italy. Clodion was very active in Rome between 1767 and 1771. On returning to Paris he set up his own studio, where he worked with his brothers depicting mythological scenes, groups of dancers, nymphs and bathers in a language somewhere between Rococo and Neoclassicism. His works were in great demand, from the Parisian salons to Catherine II of Russia. Clodion's works are held in the Louvre (Paris), the Metropolitan Museum of Art (New York), the Hermitage Museum (St. Petersburg), the Victoria & Albert Museum (London), the Art Institute of Chicago, the J. Paul Getty Museum (Los Angeles), the Frick Collection (New York) and the Kimbell Museum (Forth Worth, Texas), among many others.

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Setdart Subastas S.L
Lot 91

EUGÈNE MARIOTON (France, 1854 - 1933)."Enamoured".Sculpture in patinated bronze.Signed.Size: 93 x 36 x 27 cm.Eugène Marioton's style is characterised by a notable classicism in the forms. His figures are based on the solid French neoclassical and academic tradition, as can be seen in this group made up of a couple of young lovers. Both are dressed in clothes that evoke the classical, Greek and Roman world. The young man wears a short tunic, while the maiden is dressed in a delicate tunic whose folds reveal the underlying anatomy, following the technique of the "wet drapery". The forms are slender and notably idealised, and both figures are placed on a base that evokes, with a few plant elements, an idyllic, archaic setting.A French sculptor and medallist born in Paris, Eugène Marioton was a pupil of Auguste Dumont, Gabriel-Jules Thomas and Jean-Marie Bonnassieux. He was also the brother of the sculptor Claudius Marioton and the painter Jean-Alfred Marioton. He worked in both sculpture and medallistics, and was a regular participant in the Salon de la Société des Artistes Français in Paris, where he was also a member of the jury in 1905. In the last two decades of the 19th century, Marioton was awarded a bronze medal at this exhibition in 1882, a third-class medal in 1883 and a second-class medal in 1884 (in the same year he won a second-class medal in the first Mr Willemsens competition). He was also a laureate in the class of Dumont, first prize in the competition of the Société Libre des Beaux-Arts for his marble bas-relief "Hero et Leandre", and in the same year he received a scholarship from the Conseil Général de la Seine. He took part in the Universal Exhibition in Paris in 1889 with the bronze group "Les frères d'armes", a year after winning a travel grant in the Prix de Rome competition. He was also awarded the Prix Desprez in 1890, and at the Universal Exhibition in Paris in 1900 he was one of the artists who represented the thirty-six participating nations in the form of 2.5 m high figures with his work "Mineur belge". Works by Eugène Marioton are now in the Louvre, the Musée des Beaux-Arts in Rouen, the National Museum of Romania and other public and private collections.

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Setdart Subastas S.L
Lot 92

VICENT DÉSIRÉ FAURE DE BROUSSE (Paris, 1876-1908)."Young warrior with child in his arms".Sculpture in patinated bronze.Signed on the front.It has a dent on the base.Measurements: 93 x 40 x 37 cm.French sculptor, pupil of Jules Salmson in Paris, Vicent Desiré Faure de Brousse participated in the Paris Salon from 1876 to 1883. He was known for his figurative sculptures influenced by the Florentine Renaissance. This fact is demonstrated by the work we now present, in which the youth, hair and morphology of the young warrior could well be related to Andrea del Verrocchio's David. Thus, while Verrocchio's statue shows the young David, the future king of the Israelites, in a triumphant pose with the severed head of Goliath at his feet, our warrior also rests his leg, resolutely and with a certain pride, on a stony mound. His stocky thigh supports a child who is playing with the young man's spear.

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Setdart Subastas S.L
Lot 93

ÉMILE GUILLEMIN (France, 1841-1907) and ALFRED BARYE (Paris, 1839-1882)."Arab Knight".Sculpture in calamine on an oval wooden base.Signed by both artists.Measurements: 80 x 60 x 30 cm."Arabian Knight" is a flamboyant sculpture by the bronze artists Émile Guillemin and Alfred Barye, created in 1884, now housed in the Louvre Museum. Due to its success, other copies were made following the aesthetics of the original. Like the one in the Parisian gallery, in this sculpture the two artists depict, in a personal style rich in detail, realistic, dynamic and highly expressive, the figure of an Arab horseman returning from hunting, with a duck and a gazelle hanging from the saddle and a rifle on his shoulder. It was a piece of remarkable beauty and importance (in fact, it was one of the most significant sculptures of the so-called Belle Epoque in France). In terms of aesthetics and historical context, "Arab Knight" belongs to the Orientalist style, a movement born in the 19th century as a consequence of the Romantic spirit of flight in time and space, in which artists produced meticulous portraits of Orient and imagined pasts, recreated to the millimetre but ultimately unknown and idealised. It is worth noting that such works, which recall important historical figures or prominent struggles of the past, were common in 19th-century art as they were often chosen to decorate the interiors associated with the male figure in important houses.A French sculptor of the Belle Époque, Emile Guillemin worked mainly in bronze, although he also produced works in other materials. He trained with his father, the painter Auguste Guillemin, and with Jean-Jules Samson. He exhibited his work at the Paris Salon between 1870 and 1899 and was awarded an honourable mention in 1897.Alfred Barye le Fils or Alf Barye was a French sculptor of the Belle Époque, a pupil of his father, the artist Antoine-Louis Barye. His work includes bronzes of animals as well as oriental figures.

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Setdart Subastas S.L
Lot 94

French school, modelled on PIERRE JULES MÊNE (Paris, 1810 - 1879)."Hunter on horseback".Sculpture in patinated bronze.Signed "Pierre Jules Mêne" on the lower part.Does not retain a sword. With restoration on the bugle.Size: 95 x 124 x 43 cm.This splendid sculpture is directly inspired by the bronze "Louis XV, hunter on horseback" by Pierre Jules Mêne, which shows the sovereign on the back of his horse, dressed in royal robes and holding a bugle in his hands. The author of our work, however, is more inspired by the American Wild West, depicting a male figure with a hat, bandana and boots on spurs, but also with a bugle. In both sculptures, the horse's laborious work stands out, captured with a precision, naturalism and expressiveness that denote not only mastery on the part of the sculptor, but also a careful study of nature.A disciple of René Compaire, Mêne worked mainly in bronze, specialising in hunting subjects and equestrian groups. In fact, he is today the most famous animal sculptor after Barye. He made his debut at the Paris Salon in 1832 and continued to show his works there until the year of his death, winning a third class medal in 1855, a second class medal in 1878, and a first class medal in 1852 and 1861. In 1861 he was made a Knight of the Legion of Honour. He is represented in the Museums of Fine Arts in La Rochelle, Agen, Béziers, Dijon and Rouen, in the Palace of Fontainebleau and in the Louvre, Carnavalet and Decorative Arts Museums in Paris, the Courtauld Institute in London, the Art Institute of Chicago, the Museum of Fine Arts in Boston and the Walters Museum in Maryland, among many others.

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Flanders Auctions
Lot 418

An antique hall lamp with Cupido and etched glass lampshades. Made of patinated and gilt bronze. The lamp is an electrified gas chandelier, circa 1880. Dimensions: (W: 57 x H: 80 cm)

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Flanders Auctions
Lot 419

An antique Flemish candle chandelier, bronze. Dimensions: (H: 45 x D: 45 cm)

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Flanders Auctions
Lot 421

A girandole table lamp made of bronze in Louis XVI style, with 4 points of light. Dimensions: (L: 40 x W: 40 x H: 43 cm)

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Flanders Auctions
Lot 424

A large chandelier, bronze with glass shades a large bowl and a flambeau. Dimensions: (L: 75 x W: 75 x H: 95 cm)

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Flanders Auctions
Lot 425

A hall lamp made of bronze and cut glass, circa 1970. Dimensions: (H: 74 x D: 17 cm)

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Flanders Auctions
Lot 427

A chandelier made of bronze with an alabaster bowl and glass shades. Dimensions: (H: 64 x D: 80 cm)

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