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Click here to subscribeA pair of early 20th Century French ormolu bronze & marble candelabra table lights / lamps. Both having ornate triple arm sconces with scrolled arms and naturalistic branch columns set with putti figurines. Raised on a white marble alabaster base with ormolu plinth. Measures approx; 74cm tall.
Michael Snowden b1930 - A large bronze standing nude female figure statue with hands clasped raised on specimen wood base. Measures approx; 39cm tall. Provenance; purchased by the vendors family in 1973 through the Camden Arts Centre Snowden was a sculptor, clay modelling using also wax and plaster for bronze, and teacher, born in Billinghay, Lincolnshire. He studied at Camberwell School of Arts and Crafts, 1953–62, under Karel Vogel. Taught anatomy and sculpture at Camberwell, 1956–62, then taught at Edinburgh College of Art from 1964. He was elected RSA in 1985. Took part in numerous group exhibitions, solo shows including Leicester Galleries, 1971; Bruton Gallery, 1973; Lamp of Lothian Gallery, Haddington, 1981; and English Speaking Union Gallery, Edinburgh, 1984. Snowden received commissions for Livingston New Town, Cumbernauld New Town and Royal Bank of Scotland fountain at Kelvingrove, Glasgow. Arts Council holds his work. Lived in Edinburgh.
A 20th Century Bronze worked sculptor figure in the form of the Composer Beethoven stood leaning upon a pillar pondering his thoughts. Unmarked. Measures approx 70cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."Le coucher".Bronze sculpture with marble base.Signed.With foundry stamp.The base is severely broken on the left side. The sculpture is not anchored to the base.Size: 65 x 20 x 13 cm; 70 x 24 x 18 x 18 cm (base).This work by Josep Clarà falls within the context of Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction against modernism, romanticism and, in general and by extension, against all art and the "fin-de-siècle" spirit. Noucentisme was generically opposed to the mentality and spirit of the eighteenth-century with a desire for rigour and a classicism that looked to the classicist past for its ideal models to imitate. Thus, its essential values were order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, in contrast to fin-de-siècle decadentism.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. He is also present in the Museu Comarcal de la Garrotxa in Olot and in the Museu Nacional d'Art de Catalunya, among others.
IGNACIO GIL SALA (Barcelona, 1913 - 2003)."Mother and daughter".Oil on canvas.Signed in the lower right corner.Size: 33,5 x 25,5 cm; 55,5 x 47,5 cm (frame).After beginning his artistic training when he was only nine years old, Ignacio Gil Sala entered the School of Fine Arts in Barcelona, where his teachers were Félix Mestres and Vicente Borrás. In 1930, while still an apprentice, he was awarded the School's bronze medal, and in 1936 he won a scholarship for a study trip to Spain. Throughout his life Gil Sala devoted himself to travelling both on the Peninsula and in various Islamic and Latin American countries. He exhibited his work in Spain, France, the Philippines, Switzerland, the United States, Canada and Colombia, among many other countries, and his solo exhibitions were held in the galleries Costa (Palma de Mallorca, 1940), Augusta (Barcelona, exhibiting periodically since 1940), Lars Laine (Palm Springs, 1952), Toisón (Madrid, 1956), Cano (Madrid, exhibiting biannually since 1958) and Cézanne (Cannes, 1956 and 1966). From 1997 until his death, he showed his work regularly in the galleries of the Grup d'Art Escolà, which dedicated several tribute exhibitions to him after his death. Artistic and human recognition has been constant, although not as much as he deserved, such as the street dedicated to him by the town of Castelldefels, where he lived, or the fact that the Island Council of the Balearic Islands awarded him a prize for the numerous times he immortalised the lands, people and sea of Ibiza. An extraordinary draughtsman, agile with pencil and charcoal, Gil Sala immortalised landscapes from all over Spain, Mediterranean fishing ports, different European cities, etc., all captured with a resounding brushstroke and studied colouring. His awards include the Silver Medal of the Barcelona School of Fine Arts (1930), the First Medal at the International Exhibition in Palma de Mallorca (1941), the prize at the National Exhibition in Barcelona (1944), and two first prizes and an extraordinary first prize at the Painters of Africa Exhibition (1955, 1960 and 1961). Likewise, after his death, several tributes were paid to him, including the exhibitions held at the Terra Ferma gallery in Lleida in 2004 and the Salduba gallery in Zaragoza in 2007, both belonging to the Escolà Group.
ROMAIN DE TIRTOFF ERTÈ (Saint Petersburg, 1892 - Paris, 1990).Vase "Style", 1985.Bronze, example 196/250.Con-Ker foundry.Signed and with foundry details. Measurements: 31 x 12 cm.Colloquially known as Erté, Romain de Tirtoff or Roman Petrovich Tyrtov has been one of the great figures of art, costume design, illustration, jewellery design, interior design, fashion and sculpture, within the Art Decó. When he was barely 18 years old, Erté moved to France, where he developed a large part of his professional career. Soon after moving to Paris, he would see his talent recognised in the world of fashion, beginning his relationship with the famous magazine Harper's Bazaar barely three years after his arrival in Paris in 1915. Erté would begin to illustrate some of the magazine's covers. The relationship would clearly be fruitful for both parties, being a highly visible showcase for Erté's work. This relationship would last over time, and Erté would design a large part of the covers of this important magazine over the next 22 years, producing more than 240 covers. Erté's professional career is strongly interconnected with the Art Deco movement and he was a clear representative of this artistic and socio-cultural movement. In fact, the figure of Erté is recognised as one of the creators of Art Deco and it was undoubtedly an artistic movement with which the artist felt clearly identified. As a designer, one of his first important works was the costume design for the French dancer Gaby Deslys. Erté would soon begin to make costumes for some of the most important artists of the moment such as Joan Crawford, Marion Davis, Norma Shearer, Llillian Gish... as well as costumes for the Paris Opera, the Radio City Music Hall, Folies-Bergères and George White Scandals, The Casino de Pais... It is also important to highlight how Erté would become the designer of Broadway figures such as Iréne Bordoni. At the age of 75 Erté decided to turn his professional career around and began to focus on bronze sculpture and silkscreen printing, achieving great success in this area as well. The elegance and luxury of his creations has given Romaiin de Tirtoff a place in the history of art in museums such as the Metropolitan Museum of Art in New York, the Museum of Modern Art, the Victoria & Albert Museum, the Smithsonian Institution in Washington, the County Museum of California and others. Some of the awards he received during his lifetime were in 1976 the title of Officer of Arts and Letters from the French government and in 1982 the Vermeil medal awarded by the City of Paris.
PERE JOU FRANCISCO (Barcelona 1891 - Sitges, 1964)."Prou", 1939.Bronze sculpture on marble base.Signed on the base.The base has slight cracks in the corners.Measurements: 39 x 12 x 13,5 cm. Pere Jou was a well-known Catalan sculptor, intimately related to the town of Sitges where he left an important sample of his work. From a young age he combined his work as a sculptor with that of a carpenter and cabinetmaker. He studied at the Ateneo Obrero de Gracia, where he was a disciple of Pablo Gargallo, who recognised his talent and reinforced it by giving him the opportunity to participate in the impressive sculptural work at the Hospital de Sant Pau. At the age of twenty-five, the painter Miquel Utrillo chose him as the sculptor for the decoration of the Maricel Palace that the millionaire Charles Deering was building in Sitges. Jou created more than fifty capitals, lintels and other decorative elements, all richly carved with images taken from famous fables, as well as contemporary events and characters whose faces were inspired by his work colleagues or local people. In 1931 he held his first individual exhibition at the Galeries Laietanes in Barcelona. After the Civil War he devoted himself mainly to the restoration of religious imagery damaged during the conflict and later devoted himself to teaching at the Massana School in Barcelona. His most famous works are the alabaster columns that flank the throne of the Virgin of Montserrat.
UNITED KINGDOM. George VI, 1936-52. Bronze penny, 1937. Royal Mint. Proof , Obverse 1, Reverse B (Freeman 220). Bare head of King George VI facing left; GEORGIVS VI D : G : BR : OMN : REX F : D : IND : IMP.. Design by Thomas Humphrey Paget. / Seated Britannia facing right; date in exergue; ONE PENNY around above. Design by Leonard Charles Wyon. Edge plain.In secure plastic holder, graded NGC PF 65 RB, certification number 6320520-015. NGC Census in this grade: 34.NGC Census in higher grade: 35Total NGC Census: 106Reference: S-4114; KM-845Mintage: 109,058,406.Diameter: 31 mm.Weight: 9.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. George VI, 1936-52. Bronze penny, 1937. Royal Mint. Proof , Obverse 1, Reverse B (Freeman 220). Bare head of King George VI facing left; GEORGIVS VI D : G : BR : OMN : REX F : D : IND : IMP.. Design by Thomas Humphrey Paget. / Seated Britannia facing right; date in exergue; ONE PENNY around above. Design by Leonard Charles Wyon. Edge plain.In secure plastic holder, graded NGC PF 66 RB, certification number 6320520-016. NGC Census in this grade: 26.NGC Census in higher grade: 6Total NGC Census: 103Reference: S-4114; KM-845Mintage: 109,058,406.Diameter: 31 mm.Weight: 9.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. Elizabeth II, 1952-. Bronze penny, 1953. Royal Mint. Proof, Obverse 1, Reverse B, Freeman 246. Laureate bust of Elizabeth II facing right, M.G. on truncation; ELIZABETH II DEI GRATIA BRITT: OMN: REGINA + Design by Mary Gillick. / Seated Britannia right, date below; ONE PENNY around above. Design by Leonard Charles Wyon. Edge plain.In secure plastic holder, graded NGC PF 64 RD CAMEO, certification number 6320374-007. NGC Census in this grade: 33.NGC Census in higher grade: 97Total NGC Census: 151Reference: S-4154; KM-883Mintage: 1,348,400.Diameter: 31 mm.Weight: 9.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. George VI, 1936-52. Bronze half penny, 1937. London. Proof. Uncrowned portrait of King George VI facing left, legend around.; GEORGIVS VI D:G:BR:OMN:REX F:D:IND:IMP:. Design by Thomas Humphrey Paget (HP). / Three-masted ship (Sir Francis Drake's Golden Hind) sailing left, HALF PENNY above, 1937 below. Design by Thomas Humphrey Paget (HP). Edge plain.In secure plastic holder, graded NGC PF 66 BN, certification number 6321028-024. NGC Census in this grade: 33.NGC Census in higher grade: 22Total NGC Census: 126Diameter: 26 mm.Thickness: 1.3 mm.Weight: 5.67 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. George VI, 1936-52. Bronze half penny, 1937. London. Proof. Uncrowned portrait of King George VI facing left, legend around.; GEORGIVS VI D:G:BR:OMN:REX F:D:IND:IMP:. Design by Thomas Humphrey Paget (HP). / Three-masted ship (Sir Francis Drake's Golden Hind) sailing left, HALF PENNY above, 1937 below. Design by Thomas Humphrey Paget (HP). Edge plain.In secure plastic holder, graded NGC PF 66 RB, certification number 6320520-017. NGC Census in this grade: 33.NGC Census in higher grade: 2Total NGC Census: 106Diameter: 26 mm.Thickness: 1.3 mm.Weight: 5.67 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. Elizabeth II, 1952-. Bronze halfpenny, 1953. Royal Mint. Proof, Obverse 2, Reverse A (Freeman 465). First, laureate bust of Elizabeth II facing right; M.G. on truncation; ELIZABETH II DEI GRA: BRITT: OMN: REGINA F: D: + Design by Mary Gillick. / Sailing ship 'The Golden Hind' of Sir Francis Drake; date below; HALF PENNY above. Design by Thomas Humphrey Paget. Edge plain.In secure plastic holder, graded NGC PF 66 RB, certification number 6320374-008. NGC Census in this grade: 45.NGC Census in higher grade: 43Total NGC Census: 160Reference: S-4155; KM-882Mintage: 8,950,000.Diameter: 25.5 mm.Weight: 5.4 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. George VI, 1936-52. Various Metals lot of 10 various denominations, 1951. Royal Mint. Proof. Comes with the original boxes as issued by the Mint.Struck to commemorate the Festival of Britain. The Festival of Britain was a series of exhibitions held nation wide, commemorating on the one hand the centenary of the Great Exhibition of 1851 and on the other promoting the improvements in design for the post-war rebuilding of the country. The official opening was on 3 May 1951. The principal exhibition sites were the South Bank, London on the Thames near Waterloo Station; Poplar, East London (Architecture), Battersea Park (Festival Gardens), South Kensington (Science) and Kelvin Hall, Glasgow (Industrial Power).Coin 1: George VI, 1936-52, Crown 1951. Royal Mint. Festival of Britain. Mintage: 2,003,540. 39 mm. 28.276 g. CuproNickel.Coin 2: George VI, 1936-52, Halfcrown 1951. Royal Mint. Mintage: 9,003,520. 32.3 mm. 14.14 g. CuproNickel.Coin 3: George VI, 1936-52, Two Shillings 1951. Royal Mint. Mintage: 27,431,747. 28.3 mm. 11.31 g. CuproNickel.Coin 4: George VI, 1936-52, Shilling 1951. Royal Mint. Matte proof. English. Mintage: 9,976,930. 23.5 mm. 5.65 g. CuproNickel.Coin 5: George VI, 1936-52, Shilling 1951. Royal Mint. Scottish. Mintage: 10,981,174. 23.5 mm. 5.65 g. CuproNickel.Coin 6: George VI, 1936-52, Sixpence 1951. Royal Mint. Mintage: 40,419,491. 19.5 mm. 2.83 g. CuproNickel.Coin 7: George VI, 1936-52, Threepence 1951. Royal Mint. Brass. Mintage: 1,204,000. 21.8 mm. 6.8 g. Nickel-Brass (Neusilber).Coin 8: George VI, 1936-52, Penny 1951. Royal Mint. Proof. Mintage: 20,000. 31 mm. 9.4 g. Bronze.Coin 9: George VI, 1936-52, Halfpenny 1951. Royal Mint. Proof. Mintage: 20,000. 25.5 mm. 5.4 g. Bronze.Coin 10: George VI, (1936-1952), Farthing 1951. London Mint. Proof. 20 mm. 2.83 g. Bronze.Total gross weight: 92.29 g. Composition: Various Metals.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
PROVINCIAL EGYPT. ALEXANDRIA. Nero, A.D. 54-68. Billon tetradrachm, c.A.D. 64-65. From the Ancient Roman Empire, this tetradrachm is a billon tetradrachm, a silver alloy. During the second century CE, the Roman provincial tetradrachm was progressive debased, leading to a decline in silver and increase in bronze content. By the third quarter of the second century CE, these coins were almost entirely bronze, with only a thin coating or even a wash of silver.Radiate head of Nero facing right; Draped bust of Poppaea facing right.In secure plastic holder, graded NGC ANCIENTS AU, certification number 3990592-002. Reference: Köln 168; Emmett 128; RPC I 5280Diameter: 24 mm.Weight: 13.51 g.Composition: Billon.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
A SUPERB CHINESE BRONZE TWIN HANDLE TRIPOD CENSER AND COVER, the cover with a large foo dog finial upon foliate openwork decoration, the handles formed as lion dogs, the censer with raised decoration of lotus motifs and swirling vine, supported on three curving legs protruding from beast-head mouths and ending in claw feet, the base bearing a six-character mark, 28cm high, 23cm wide (handle to handle).
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