A bronze hot mark inscribed 'CORNISH TIN SMELTING CO REDRUTH', 11 x 8cm.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer.   Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working.    The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case.  Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
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A bronze hot mark with Lamb and Flag design, 8.5 x 11cm.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer.   Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working.    The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case.  Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A bronze hot mark inscribed 'CHYANDOUR' and with lamb and flag, 9.5 x 12cmThis large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer.   Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working.    The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case.  Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com 
A bronze hot mark with lamb and flag, 9 x 12.5cm.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer.   Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working.    The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case.  Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A bronze hot mark inscribed 'TREREIFE', 9 x 13cm.This large collection of extremely rare Cornish tin ingots and mining artefacts are from the collection of Neil Mercer.   Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working.    The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy mediaeval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case.  Foreword by the landscape archaeologist Dr Tom Greeves; ' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'. For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website http://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com
A bronze beaded clutch purse made in France. The beads form a decorative leaf design on the front and back. It has a gold metal clasp closure and a smooth gold chain handle. The inside is lined with mocha coloured satin.A cream and coffee coloured snakeskin purse with a metal clasp closure and a short snakeskin strap. It has a front opening which reveals a mirror and two pockets, with a lining in taupe. The main purse pocket is also lined in taupe. A black Yves Saint Laurent velvet purse with a gold fabric magnetic closure. The closure has the YSL logo monogrammed on it. The inside of the purse has a zip closure and is lined in gold satin. A caramel crocheted and beaded purse by Mint. The purse is shell shaped and has a beaded strap. It closes with a magnetic fastening and is lined in caramel coloured satinAn emerald snakeskin purse by Jocasi London. It closes with a snakeskin covered magnetic closure and is lined with green fabric. It has two very long, thin snakeskin straps.A purse constructed from decorative beading, in an art deco emblem in the colours blue, red, yellow, green, and pink. The bottom of the purse has beaded fringing. The lining is sky blue and is heavily damaged, as is some of the beading. It is missing a handle. Six small purple fabric bags with a white button logo and the logo ‘one’. They have pink spotted ribbon straps. A small cream purse decorated in pearl beads with a flower design on the front. It closes with a zip and has a cream-coloured lining. A small evening purse of cream satin decorated in a floral design of tiny white beads. It has a silver clutch clasp closure and is lined in cream fabric.
A pair of Renaissance Revival patinated bronze Cellini style ewers, each cast with a bas relief frieze of amorini, the bodies each with a frieze relief of putti within sine leaf and acanthus borders, each C-scroll handle surmounted by a putto, raised circular bases, approx 58cm at highest point (2)
LUISA GRANERO SIERRA (Barcelona, 1924)."Maternity".Sculpture in patinated bronze, on marble base.Signed on the right side.Includes 100 cm high lacquered wooden base.Measurements: 55 x 28 x 38 cm (sculpture).Luisa Granero trained in Barcelona, at the School of Fine Arts of Sant Jordi. She was a disciple and assistant to the sculptors Jaume Otero and Enric Monjo and, later, professor of sculpture at the current Faculty of Fine Arts in Barcelona, where she obtained her doctorate in 1983. She is currently a member of the Royal Academies of San Fernando in Madrid, Santa Isabel de Hungría in Seville and Sant Jordi in Barcelona, and has been a member of the National Sculpture Society of New York since 1973. He has won several prizes, including the City of Barcelona, and has several public works in that city, as well as in Zaragoza and Palma de Mallorca. He has also held open-air exhibitions in various places, such as around Malcesine Castle in Italy (2004) and in Sitges (2007). In 2009 he received the Autocugat Art Prize.
ALPHONSE CHAIGNON (Paris, 1828-1898)."Architectural Fantasies", 1882.Pair of paintings on porcelain.Signed and dated on one side.Measurements: 50 cm. diameter each; 69 x 69 cm.(frames).French painter and decorator, author of "architectural fantasies" very celebrated in his time, of which we show two good examples. Alphonse Chaignon trained with Jean-Hilaire Belloc (1786-1866), a history painter and talented portraitist who, as director of the Paris School of Drawing, had a notable influence on many of his pupils (Fantin-Latour, Whisler, Lhermitte, Bracquemond, Carlus-Duran). He would also have been - according to the press which praises his qualities as an "archaeological painter" - a pupil of Viollet-le-Duc (1814-1879) or, more probably, one of his ardent disciples in view of his artistic career. A. Chaignon was present from 1865 at the Salon des Artistes Françaises, with a "View of Quimperlé" (1868, oil painting, no. 464). Chaignon became known as a "decorative artist painter": he produced, between 1867 and 1878, for the church Sainte-Madelaine de Montargis (Loiret) and the chapel Saint-Vincent de Paul of the church Saint-Jean-Baptiste de Belleville in the Buttes-Chaumont, ornamental frescoes and decorative paintings or even "vast panels painted in matt oil on canvas" (Sainte-Geneviève) destined for the church of Saint-Pierre -de- Montmartre in Paris. These compositions, celebrated for the delicacy of the drawing and the combination of tones, won the artist the Bronze Medal in 1874 and 1876. Alphonse Chaignon was to share this distinction with one of the most talented decorative painters of the time, Albert Lenoir (1801-1892). As part of the Concours de la Ville de Paris, two projects for mural frescoes for the Salle des Mariages in the town hall are particularly noteworthy: his interesting restitutions of Old Paris imagined with animated landscape frescoes, The Court of Miracles and The Montmartre Gate in the 16th century.
A pair of Louis XVI gilt bronze candlestickscirca 1780, in the manner by Etienne Martincourt (French, act. 1762-1800)of flared torchiere and quiver of arrows form, the detachable drip pans with beaded edges, the wreath cast circular bases with fluted dished centres, the milled sides with applied rosettes, the swept tripod bracket supports cast with pendant fruiting laurel leaves, on bracket feet, 18.5cm high approximately Footnotes:A comparable pair of candlesticks, attributed to Etienne Martincourt with additional foliate wrapped garlands to the stems and stepped circular platform bases with varying decoration to the side panels which were formerly with the Seligmann Gallery, New York, later in the collection of George Blumenthal, later sold Galerie Georges Petit, Paris, December 2, 1932, lot 117, possibly sold, Palais Galliéra, December 13, 1962, lot 179 were subsequently sold Sotheby's, Les Dillée: A Dynasty of Experts And Collectors, Paris, 18 March 2015, lot 120. The design of these comparable candlesticks can be referenced to designs of the ornamentalist Jean-François Forty including two drawings kept in the drawing cabinet of the Museum of Decorative Arts (specifically inv. CD 5493), taken up by the engraving P. Gélis-Didot, which depict a base structured around three consoles. Another engraving published by Forty has greater stylistic similarities, including the winding of a garland of leaves around an axis. The three part openwork base is also reminiscent of the base of a pair of Martincourt torches at the Wallace Collection (F 166-7). For a near identical pair of unattributed candlesticks excepting the bases which are decorated with roundels rather than rosettes, see Sotheby's London, Louis XVI and Empire Furniture from the Estate of the late Giuseppe Rossi (Vol III), 12th March 1991, lot 1326.For further information on this lot please visit Bonhams.com
A pair of French Empire gilt and patinated bronze three branch figural candelabracirca 1810the trumpet shaped arms cast with leafy mask heads and acanthus leaves below flambe collars with detachable drip pans, issuing from elongated grotesque mask heads with leafy anthemion scrolling terminals, applied to a swept vase shaped central sections with flambe finials, supported by winged female figures of Victory standing on swept foliate orb pedestals with applied Gallic cockerel mounts above rectangular plinths with applied figural classical and formalised foliate mounts and raised on fruiting vine and palmette cast swept square bases, 88cm high overall (2)Footnotes:ProvenancePurchased Koller, Zurich, September 2005.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of 19th century French gilt bronze and purple fluorspar and marble candlesticksthe swept palmette and flower head nozzles below turned socles and pointed crenelated collars, raised on tapering ovoid vase supports with applied bearded mask head twin mounts, the fluted rocaille pedestal bases below pierced bull rush frieze mounts, on stepped square marble plinths, 21.5cm high (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Louis XV gilt bronze mounted Chinese famille rose export small porcelain model of a pheasantthe porcelain probably Qianlong period (1736-1795)the bird with iron red body with shaded breast and multicoloured and gilded plumage, perched on a pierced rockwork base in mottled aubergine and turquoise, the oval acanthus-cast rocaille and c-scroll base on corresponding feet, 26cm high Footnotes:For a comparable small pair of unmounted Chinese famille rose pheasants, circa 1760 previously with A & J Spealman, London, see Christies, Chinese Export Art, 21 January 2016, lot 46.For a larger pair of Louis XV gilt bronze mounted Chinese famille rose porcelain models of pheasants with mounts attributed to Jean-Claude Chambellan Duplessis, see Christies, The Exceptional sale, 4th July 2013, lot 9.The French fashion for gilt bronze (ormolu) mounted porcelain supplied by marchand-merciers such as Lazare Duvaux and also un-mounted Chinese porcelain birds is revealed in the 'revolutionary' sales held in Paris in the late 18th century. However, bronze Chinese pheasants appear to be relatively rare with only un-mounted birds usually seen on the market.For further information on this lot please visit Bonhams.com
An early 19th century English gilt bronze mounted crackle glazed Chinese porcelain vasethe mounts in the manner of Benjamin Vulliamy (1747-1811) and Benjamin Lewis Vulliamy (1780-1853)the grey crackle glazed baluster body with a relief moulded biscuit undulating key border and scalloped girdle, the foot with a similar narrow band, the whole with applied stylised lion drop ring handles, the rim with applied flared fluted and lobed rim mounts, the foot rim mount with trellis cast border, the vase raised on an a shallow square porphyry plinth base, the vase 36.6cm high, 39cm high overall including the plinth (2)Footnotes:Benjamin Vulliamy and his son Benjamin Lewis Vulliamy (1780-1854) who traded in London as Vulliamy & Son, belonged to a family of Swiss extraction whose original business of making clocks and watches expanded rapidly during the last quarter of the 18th century due much to the entrepreneurial spirit of the senior member of the family, Benjamin. Trading from 74 Pall Mall, their surviving Ornament and Clock Books contain extensive details regarding their business practices which clearly indicate that their craftsmen were not necessarily employees of the firm, but were 'individuals or firms largely resident in London who were working independently for their own account,' (See: Furniture History, 1967, Geoffrey de Bellaigue, 'The Vulliamys and France,' pp. 45-53). Besides mechanical movements for their watches and clocks, they also designed and had made elaborate cases which incorporated porcelain figures which were supplied by William Duesbury of Derby. In addition they supplied ornamental metalwork in many guises and, as de Bellaigue remarks, 'they were prepared to supply their customers with anything from a chimney-piece to a door handle, from a piano to a button.' The Vulliamys were fully aware of current taste on the Continent and France, not only utilizing published French designs, but also copying actual French objects or their components. They are also recorded as actually purchasing works of art in Paris, either on commission or for resale, and also utilized the workshops of the Delafontaines, 'who were among the most eminent bronze manufacturers active in Paris in the beginning of the nineteenth century,' (Bellaigue, op. cit.). The Delafontaines are shown in Vulliamys' books 'as suppliers of bronze mounts, chased but not gilt, which were incorporated into candelabras, inkstands, clocks and mounted porcelain jars,' as seen on the present vases. The Vulliamys had an illustrious list of clients, including many members of the aristocracy and eminent personages, together with the patronage of the Royal Family including the Prince Regent to whom they supplied elaborate mounts, all with comparable square bases, for several Chinese porcelain vases which in the Royal Collection. These included three Chinese famille rose jardinières (RCINs 48 and 101659.1-2) and a set of four jardinières with bowls of dark blue Spode ware in imitation of Chinese porcelain (RCINs 700.1–4).For further information on this lot please visit Bonhams.com
A pair of French gilt bronze chimera or dragon chenetsin the Régence style, 18th / 19th centurythe winged snarling beasts on shaped moulded bases cast with trailing acanthus sprays, the sides with stylised rocaille, leaves and shells on acanthus scrolling feet, 28.5cm high (2)Footnotes:For comparable pairs of chenets, see the following three lots:Christies, London, Important Furniture, 6th July 2006, lot 3. Christies, New York, The Art of Collecting: Three Private Collections, 9th October, 2013, lot 646.Christies London, Property from a Maison Jansen Interior on Easton square, 21st June-12th July, 2021, lot 150.For further information on this lot please visit Bonhams.com
A pair of mid 19th century French gilt bronze mounted and celadon green opaline glass vasesin the Louis XV style, circa 1860the bulbous double gourd bodies with tapering necks and oval upturned foliate collars, each mounted within fruiting acanthus scrolling twin handled open frameworks, on corresponding open scroll pierced footed bases, 58cm high approximately (2)Footnotes:Comparative Literature:Shelley M. Bennett and Carolyn Sargentson, French Art of the Eighteenth Century at the Huntington, The Huntington Library, 2008, no. 55, pp.158-159.The shape of this pair of vases is loosely based upon a Yuan dynasty Chinese green celadon double gourd vase mounted with Louis XV gilt-bronze mounts, now in the Huntington Collection. Although the latter vase has mounts cast with vine leaves and grapes, the present pair are clearly inspired by this model.For further information on this lot please visit Bonhams.com
A pair of Louis XVI gilt bronze and white marble cassolettesthe urn shaped nozzles with beaded rims and spiral moulded scrolling handles on leafy pedestal supports and milled socles, the covers with fruiting knopped stiff leaf finials, each raised on an integral half column pedestal and square shallow plinth base with beaded and foliate borders, 21cm high (2)For further information on this lot please visit Bonhams.com
After Giambologna, called Giovanni da Bologna or Jean Boulogne (Italian, 1529-1608): An Italian patinated bronze equestrian model of a pacing stallionperhaps 18th / 19th century the trotting horse with curling mane and slightly curling tail, its head slightly tilted to the right and mouth open, the right foreleg and rear left leg raised, raised on a red porphyry shallow rectangular plinth base, 17.5cm high, 18cm long 7.5cm deep Footnotes:The stance of this equestrian subject, which was one of the sculptors favourite models, is a reduction of the horse from the monumental bronze statue of Duke Cosimo I de' Medici, erected in the Piazza della Signoria, Florence in 1594. Giambologna was inspired by the antique over-sized bronze of the Emperor Marcus Aurelius (now in the Capitoline Museum, Rome), which had been set up as the focus of Michelangelo's rearrangement of the Piazza del Campidoglio, Rome. A version of the pacing horse was sent as a diplomatic gift to Henry, Prince of Wales, in 1612 and was inherited by his brother, King Charles I.For further information on this lot please visit Bonhams.com
After Giambologna, called Giovanni da Bologna or Jean Boulogne (Italian, 1529-1608): A paintated bronze figure of Neptune and dolphinprobably 19th century, the cast a Grand Tour type reduction edition of the original fountain figurethe bearded male god standing in contrapposto, hit left arm extended, his right arm to his back (lacking his trident), his right foot resting on the head of a dolphin, raised on a rosso antico marble square plinth base, 29cm high Footnotes:The Fountain of Neptune is a monumental civic fountain located in the Piazza del Nettuno, next to Piazza Maggiore, Bologna, Italy, An example of Mannerist taste of the Italian courtly taste, its construction was commissioned by the Cardinal Legate Charles Borromeo, to symbolize the fortunate recent election of Borromeo's uncle as Pope Pius IV. The design and assembly of the fountain was completed by the Palermitan architect Tommaso Laureti in 1563 and the fountain was completed in 1565,An early design by Giambologna, who had submitted a model for the Fountain of Neptune in Florence, but had lost the commission to Baccio Bandinell, the over-life-size bronze figure of the god Neptune was completed and fixed in place around 1566. Emerging majestically from centre of the fountain, the mannerist figure of Neptune is surrounded by four putti holding dolphins as allegorical representation of he major rivers from the then-known corners of the world comprising the Ganges, the Nile, the Amazon, and the Danube. The figure stretches his left hand in a lordly gesture possibly to placate days which today is interpreted as symbolic exaltation of the new power of the Pope Pius IV.For further information on this lot please visit Bonhams.com
An Italian carved white marble bust of a faunessprobably Roman, late 18th / early 19th century, the model after the antique and in the manner of Luigi Valadier (Italian, 1726-1785)the young bare shouldered nymph looking to dexter with smiling open mouth and blank eyes, her hair arranged in a wavy chignon, with rusticated back, above a vacant tablet, on a waisted circular socle, 42cm high Footnotes:The offered lot is a marble copy, after the antique, taken from a little known group of 'Nymph and Satyr' now in the Vatican reserve collection. The subject, paired with a pendant of the 'Albani Faun' (now in the Munich Glyptothek) is known to have likely been cast in bronze by the Italian bronze goldsmith bronze work, Luigi Valadier in the third quarter of the 18th century.The original antique figure of the 'Fauness' seems to have become known after Clement XIV purchased it from the English dealer Thomas Jenkins. However whilst the 'Faun' became widely reproduced in many sizes, the 'Fauness' appears to have been less popular.The Valadier workshop is known to have listed numerous busts of 'Fauns' in its workshop Registro as late as 1810, including some which were specifically listed as 'Fauno di Villa Albani' although none can be clearly identified as the Vatican derived 'Fauness'. However, examples of other known Valadier bronze busts utilising near identical variegated marble socles as the ones used for a pair of bronze busts of the Albani Faun and his Vatican Fauness certainly suggest that Valadier may well have produced this particular pair of bronze busts. This suggestion is similarly enforced with the composition as the 'Fauness' is purposefully modelled to looks upwards towards the 'Faun'. Luigi Valadier is known to have restored and reworked ancient Roman art and architecture and antique sculptures, cameos, architectural details whilst the ruins of ancient monuments also served as inspiration for his own works which included candelabra, tableware, altars and centrepieces in both silver, bronze, marbles and semi-precious stones. Uncommonly for the time he produced works of all sizes from large altar pieces to intricate pieces of small jewelleryFor a comparable pair of attributable bronze busts after the antique and in the manner of Luigi Valadier depicting a Fauness and her male companion, after the Albani Faun, see Trinity Fine Art, Exhibition of European Sculpture & Works of Art, catalogue, 2004, p. 46.For further information on this lot please visit Bonhams.com
A Regency rosewood and brass 'buhl' (or Boulle) marquetry card tableCirca 1820, possibly by Louis Constantin Le GaigneurWith premiere and contrepartie inlay, the swivel hinged top and octagonal column each inlaid with chevron surrounds and 'Greek-key' type borders, the top with conforming edging, enclosing a red baize playing surface, with a mahogany interior, above a scrolled foliate frieze, on an octagonal column with similar inlay interspersed by foliate spray pendants, the column joined by an X-form support comprised of four large S-scrolls, the concave quadripartite base inlaid with stylised foliage and surmounted by four honeysuckle and rosette inlaid scrolled corbels, terminating in gilt bronze scrolled and stiff-leaf hipped hairy lion paw feet, 97cm wide x 54cm deep x 73cm high, (38in wide x 21in deep x 28 1/2in high)Footnotes:Related furniture to the present lot includes: a small 'Buhl' inlaid centre table attributed to Louis Le Gaigneur which sold Sotheby's, London, 20 September 2011, Fine Furniture, lot 217; a brass inlaid rosewood centre table, dated circa 1820, which sold Sotheby's, London, 12 November 2019, Style: Private Collections, lot 17; a rosewood and brass inlaid sofa table, circa 185, sold Christie's, London, 19 January 2021, Apter-Fredericks: 75 Years of Important English Furniture, lot 85; and an important writing table attributed to Le Gaigneur, from circa 1815, features on the website for David Foord-Brown Antiques.This marvellous card table is typical of the revived taste for 'Buhl' or Boulle furniture among the wealthy and fashionable elite in Britain of the 1820s, as favoured by such influential collectors as the Prince Regent, later to become George IV, and William Beckford (1760-1844). The demand for 'Buhl', as it was then known, was provided for by various antiquarian dealers based in London who not only dealt in old furniture but would also adapt 18th century Boulle pieces, or even make examples in the Boulle style. Such dealers and cabinet makers included Louis Constantin le Gaigneur, who described himself as a 'French Buhl Manufacturer' and worked predominantly for the Prince Regent and his circle (a pair of Louis XIV-style 'Boulle' bureaux plats were delivered to the Royal Pavilion, Brighton in 1815, RCIN 35289). Another figure producing similar 'Buhl' inlaid furniture at that period was Thomas Parker of Air St., Piccadilly, who in 1813 supplied a pair of Boulle marquetry coffers-on-stands to the Prince Regent, which remain in the Royal Collection (RCIN 21624).The cabinet maker Louis Le Gaigneur established his 'Buhl' Manufactory at 19 Queen Street, Edgware Road, circa 1815, and from there specialised in brass inlaid furniture in the then newly revived Louis XIV style. His clients included such important and prominent figures as the Prince Regent and the 3rd Marquess of Hertford, and library tables bearing Le Gaigneur's signature remain at Windsor Castle and the Wallace Collection.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Antoine Louis Barye (French 1795-1875): A bronze model of 'Elephant de Senegal'the running elephant on naturalistic oval base, signed BARYE to the front, and with F.BARBEDIENNE FONDEUR foundry mark to the rear, mid brown patina, 25.3cms highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 19th Century Sculpture, 29 November 1991, lot 25.The sculptor produced a series of four small scale elephant models, all of which proved popular. The present bronze can be identified as the third model and was listed, under Nouveaux Modeles, as number 211 in Barye's final catalogue of 1865 from the Quai des Celestins 4. Of the four models produced, the Senegalese elephant is the most spirited and powerful in its sense of momentum and is notable in that only one of its four legs actually touch the ground. The model was subsequently sold to the Barbedienne foundry and edited in two sizes. The current lot is in the rarer larger size known only to be cast by Barbedienne.LiteratureM. Poletti & A. Richarme, Barye Catalogue raisonné des sculptures, Paris, 2000, pp. 251-253, A 119.For further information on this lot please visit Bonhams.com
Antoine Louis Bayre (French, 1795-1875): A bronze model of 'Tigre suprenant une antilope (terrasse sans profil)'on oval naturalistic base, signed BAYRE, green brown patina 25.8cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London.Related Literature:Poletti & Richarme (2000), p.202, A72 (2)A version of 'Tigre surprenant une antilope' was offered along with a second version of 'Panthère saisissant un cerf' both with three-tiered gooved bases from 1857. After 1876 the model was edited by Barbedienne.For further information on this lot please visit Bonhams.com
Aimé-Jules Dalou (1838-1902): A patinated bronze figure of 'La Verité Meconnue, second version' ('The Truth unacknowledged', no. 2)the seated female nude leaning on her knees, hiding her face, on integral naturalistic canted rectangular base, signed to one side DALOU above the cracked mirror (facing to the rear), the opposing side marked Susse Fres Edts the rear with Susse Freres pastille flanked by the letters H P and s, 35cm high Footnotes:See lot 62 for further footnote on his lot.No commercial bronze editions of his works were apparently produced during Dalou's lifetime as these were discouraged by the sculptor. As such edition casts were not produced until the period post the sculptors death in 1902, when his executors allowed a number of Dalou's works to be cast in limited editions by the A. A. Hébrard foundry. Later, models were made in slightly larger numbers and in a variety of edition sizes by the Susse Frères foundry.The present model was produced in two sizes by Susse Frères and featured in their 1910 catalogue, nos. 772-773. It was also illustrated in Art et Décoration, 1903, p.280. The statuette is an interesting adaptation of the seated nude theme for ideological purposes, the mirror, in this case cracked, being a common attribute of Truth since it does not lie.Related Literature:A. Simier, Jules Dalou. Le sculpteur de la République, exh. cat., Petit Palais - Musées des Beaux-Arts de la Ville de Paris, Paris, 2013.J. Hunisak, The sculptor Jules Dalou: studies in his style and imagery, New York, 1977.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Attributed to Claude Galle (French, 1759-1815): A pair of early 19th century bronze and marble figural twin light candelabracirca 1815formed as Grecian maidens clad in formalised classical robes holding candle arms formed as cornucopiae with bird cast nozzles, raised on rouge marble square bases, 28.5cm high overallFootnotes:The son of a farmer, Claude Galle rose beyond his humble roots to become an important bronze caster and gilder by the end of the 18th century. Although very rarely marking his works and producing in a variety of styles popular at the end of the 18th and start of the 19th century, he collaborated with numerous other craftsmen, and scholars.By 1784 Galle had become extremely successful, producing mounts for furniture, clocks, and other objects in gilt bronze for the palaces of Fontainebleau, Versailles, Saint-Cloud, and Compiègne in his workshop and he was made a master bronzier in 1786.After the French Revolution, Galle continued to produce numerous pieces for Napoleon Bonaparte, receiving an order worth more than 65,000 francs for the Château of Saint-Cloud. As many of his clients were slow to pay their bills, however, he fell increasingly into debt. In 1811 he was even forced to write a begging letter to the government asking for its help and protection reminding them of the awards he had won, the large family he had to feed, and the four hundred employees who depended on him for their jobs. However, he died in poverty four years later, having been forced to close his shop.For further information on this lot please visit Bonhams.com
Jean-Baptiste Auguste Clésinger (French, 1814 -1883: A bronze group entitled 'Jeunesse de Bacchus'the young Bacchic putto seated on a striding jaguar, the rectangular base inscribed, signed and dated JEUNESSE DE BACCHUS, J CLESINGER. Rome. 1869 with Bronze Artistique de Paris pastille mark, brown patina, 44.2cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 23 November 1990, 19th Century Sculpture, lot 90.This present lot is a reduction in bronze of the marble group in the Museum of Versailles which was exhibited at the centennial exhibition of French Art in 1900, originally executed in 1868 in white marble and in grey marble the following year. It is one of only two known models by Clésinger cast by the Marnyhac foundry, the larger edition being produced by Clésinger's usual foundry, Barbedienne.Clésinger first studied under his father, the artist George Philippe before continuing his studies under Bertel Thorwaldsen in Rome and David D'Angers in Paris. He began exhibiting in the Salon in 1843 making his debut with a bust of Viscomte jules de Valdon. In his lifetime he was commissioned to do many public monuments including the bust of Liberty on the Champs de Mars and he was created an Officer of the Legion of Honour in 1884.For further information on this lot please visit Bonhams.com
Jean Jacques (James) Pradier (French, 1790 -1852): A bronze figural group of Zephyr and Florasigned to the drapery J.PRADIER, the base inscribed and dated J.Pradier / 1851, brown patina, raised on a black marble oval moulded plinth, 42.6cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 29 November 1991, 19th Century Sculpture, lot 64.Jean-Jacques Pradier was a Swiss-born, French sculptor. He won the Prix de Rome and studied there from 1814 to 1818. He then worked under Jean-Auguste-Dominique Ingres in Paris. In 1827 he became a member of the Académie des Beaux-Arts and Professor at the École des Beaux-Arts. Amongst his chefs-d'oeuvre are the figures of Renommées in the spandrels of the Arc de Triomphe and the twelve Victoires surrounding Napoleon's tomb in the Invalides.For further information on this lot please visit Bonhams.com
A rare and interesting James II leaded bronze measure, of bushel capacitycirca 1685-1688the rim struck four times with the dagger mark for London, and four times with an 'I' beneath a crown, the body engraved with the coat of arms of JEFFREYS to one side, and the crest of JEFFREYS to the other, both within leafy mantling, with angular lug handles and raised on three lion's paw feet, 50cm rim diameter x 17.5cm highFootnotes:The arms engraved on this bushel measure are as follows ermine, a lion rampant sable, a canton of the last; the crest a demi-lion or jessant a laurel wreath proper. Both were borne by George Jeffreys, 1st Baron Jeffreys of Wem (1645-1689) otherwise known to history as Judge Jeffries. Engraved beneath a baron's coronet, they must date from 1685 or thereafter when Jeffreys was raised to the peerage as 1st Baron Jeffreys of Wem. This conforms with the verification marks to the measure's rim, one of which is a crowned I (J), for James II, who succeeded his brother Charles II in the same year. Jeffreys was born at Acton Park near Wrexham in Denbighshire. His elevation to the peerage in 1685 was the culmination of a distinguished legal career. Jeffreys entered the Inner Temple in 1663 and was called to the bar in 1668. He obtained his first public legal office in 1671, when he was elected common serjeant of London. In 1677, he was knighted and made king's counsel. Shortly afterwards, he was appointed Recorder of London, the city's highest legal office. It was shortly afterwards that he opened the treason case against Edward Coleman, and he presided - with others - over the trial of conspirator William Ireland, both accused as part of the Popish Plot unleashed by Titus Oates. Jeffreys, as recorder, pronounced sentence. In 1679, James, then duke of York, asked Jeffreys to serve as his solicitor-general and in 1681, the King made Jeffreys a baronet. Two years later, he was appointed Chief Justice of the King's Bench and was sworn a member of the Privy Council. In 1684, he was engaged in prosecuting members of the Rye House Plot, including Sir Thomas Armstrong. On 16 May 1685, Jeffreys was raised to the peerage, his title taken from the Shropshire manor he had acquired the year before. In July, he and four other judges were sent on assizes in the west of England, to try rebels captured after the battle of Sedgemoor following Monmouth's rebellion. Jeffreys has been pilloried for his part in the death of Lady Alice Lisle, an elderly widow accused of treason for giving shelter to a few of the rebels. Cross-examined vigorously by Jeffreys, she was executed, but it has been noted by scholars in recent years that it was James II who denied her mercy. Approximately two hundred rebels were executed and another thousand were transported to the West Indies. On his return to London, in September 1685, Jeffreys was made Lord Chancellor.Jeffreys did not endorse the King's attempts to seek toleration for Catholics by remodelling county benches and urban corporations, and his influence appears to have waned slightly thanks to the rising influence of Catholics at court. In April 1687, he refused to sign James' first declaration of indulgence. However, in 1688, he was present when the Prince of Wales was born and, in July 1688, when Jeffrey's son John married Lady Charlotte, the heir of Philip Herbert, seventh earl of Pembroke, the king was present at Bulstrode, the estate purchased by Jeffrey's in the 1670s and rebuilt (after a fire) in the mid-1680s.His fortunes followed those of James II, and Jeffreys, caught trying to flee the realm, died in prison in 1689. In his will, he explained that he had been 'in hopes not withstanding my long indisposition of belly [he had been ill for some years]...' of recovering 'soe much strength as to have been able to have vindicated myself...'. He left five children, three from his first marriage and two from his second. His son, John, left a single surviving daughter, Henrietta Louisa, later Countess of Pomfret.Despite his reputation for cruelty and vindictive judgments, Jeffreys was also celebrated as a very able lawyer, and a master of cross-examination who presided ably in civil cases. None of his decrees as Lord Chancellor were later reversed.It is, perhaps, of interest that two similar bushel measures survive at Erddig, not far from Acton Park, where Jeffreys was born and grew up. One (NT114768) is dated 1663 and the other (NT1147687), 1716. The latter is inscribed for John Meller, 'Farmer of the Toll' within the town of Wrexham, and dates from the year he acquired Erddig from Joshua Edisbury. Both measures have more typical stylised paw feet. Interestingly, Sir Godfrey Kneller's (1646/9-1723) portrait of George Jeffreys, together with a portrait of his brother (NT1151315), Sir Thomas Jeffreys, hang at Erddig and were reputedly acquired by the Yorke family (then owners of Erddig) in the late 18th century.For further information on this lot please visit Bonhams.com
A French gilt bronze mounted porcelain potpourri pedestal bowl and coverin the Louis XVI style, 18th / 19th century, the porcelain probably Paris, perhaps Locre, the mounts in the manner of Pierre Gouthière (French, 1732-1813) the dark blue glazed shallow bowl with twin lobed and reeded handles above fruiting vine bacchante mask head mounts and below a fret-pierced rim, the circular shallow lid with artichoke finial within a fruiting palmette leaf collar with gilded foliate border, the whole raised on tripartite legs with bearded Bacchus mask heads tapering to goats feet, raised on corresponding shaped platform base with milled border panels, 35cm high For further information on this lot please visit Bonhams.com
Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
A pair of second half 19th century French equestrian bronze figures of Henry IV and Charles I (2)both clad in armour and holding ceremonial staffs on ribbon tied caparisoned horses, brown patina, mounted on rectangular Verde Antico and black marble stepped plinth bases, 41cm and 41.5cm high overall including plinth basesFootnotes:Provenance:Acquired by a private UK collector, Christie's, London, 22 January 1986, Sculpture, lot 76.For further information on this lot please visit Bonhams.com
Tischleuchte mit Marmor-Messing-Schaft, 20./21. Jh.Rötliches marmorartiges Gestein (poliert) mit Messingmontierung in antiker Bronze-Optik; antikisierte Leuchterform auf Rundsockel im Stil des 19. Jh., 2-flammige Elektrifizierung; konisch-ovaler kartonierter Lampenschirm, außen goldfarbig patinierte Fassung; Gesamthöhe 70 cm; Schirmmaße 50 x 35,5 cm.Elektrifizierung und Funktion ohne Gewähr.Gesamtgewicht 3,44 kg.
Sektkühler, Cristal et Bronze Paris, 2. Hälfte 20. Jh.Geschliffenes farbloses Glas mit vergoldeten Bronze-Beschlägen; konischer massiver Kristallkorpus mit umlaufendem Schliffdekor; vergoldete Bronze-Randmontierung, außen Bordürendekor-Struktur in Empire-Manier; seitliche vergoldete Applikationen mit Glasstab-Griffeinsätzen, 1 reliefierte Blüten-Applikation eines Griffes fehlt; minimale Gebrauchsspuren; Höhe 22 cm; älterer grüner Etikett-Aufkleber mit Herstellerbezeichnung "Cristal et Bronze Paris"; unterseitig älterer blauer Etikett-Aufkleber "Made in France".Gewicht 3,76 kg.
Tafelaufsatz mit Dresdner Blumenmalerei, Meissen, Ende 19. Jh.Weißporzellan mit polychromer Floralmalerei (wohl Dresdner Hausmalerei) und Goldstaffage; 2-tlg. Verschraubt; runder Schalenaufsatz mit passig gewellt konturiertem Rand, in der Mitte Bronze-Medaillonapplikation der Verschraubungsmontierung; runder gewölbter Sockelfuß mit kurzem geschweiften Nodusschaft; 2. Wahl; berieben; Höhe 15 cm, Durchmesser 24,5 cm; unter dem Sockel unter Glasur blaue Knauf-Schwertermarke mit undeutlichem Blindpräge-Beizeichen "00" (oder "8"?), auf sichtbarem Teil der Schalenrückseite blindgeprägte Ziffer "12".Gewicht ca. 890 g.
Kohlebecken-Rechaud (teils wohl Marriage), wohl friesisch, 18. - 19. Jh.Messing/Bronze; 2 Rundschalen verschiedener Größe übereinander in 3-fach verstrebt gegliedertem Halterungs- bzw. Fußgestell, mit 3 umlegbaren Halterungs-Lanzetten und 2 seitlichen Ringhenkeln; obere Schale 2-schichtig gearbeitet, oberseitig mit verschlossener siebartiger Prägung in unregelmäßiger Sternmedaillonform; ältere Schalen in späterem Halterungsgestell integriert (Marriage ?); Alterspatina; Höhe 15 cm, Durchmesser 15 - 25 cm.Gewicht 1,76 kg.
Rokoko-Deckeldose (Tabaksdose), Nymphenburg, 1763 - 67.Weißporzellan mit allseitig verschiedenen architekturstaffierten Landschaftsveduten in eisenroter detaillierter Camaieumalerei in fein reliefierten Rocaille-Rahmungen, Deckel mit scharnierter goldfarbiger Metall-(Bronze?)Montierung; oval geschweifte Formgebung; unterseitig minimal berieben; Maße 6,3 x 8,7 x 6,5 cm; an der inneren hinteren Wandung oben unter Glasur blaue Sternenmarke mit Buchstaben und Ziffern des Zeitraums 1763-67.Gewicht 128 g.
Empire-Vase, Frankreich (wohl Paris), 19. Jh.Vergoldete Bronze und geschliffenes farbloses Glas; hoher schlanker Ovoidkorpus aus Glas, montiert über runder Bronze-Basis auf quadratischem Bronze-Sockel; Hals und seitliche stilisierte Schwanenhalshenkel mit plastischen Maskarons aus vergoldeter Bronze; minimale Altersspuren; Höhe 37 cm.Gewicht 1,82 kg.
Philip Blacker (British, born 1949)Horse and Jockey signed with initials, dated and numbered 'P.B 77 5/6' (on base)bronze with a brown patina41cm (16 1/8in) longFootnotes:ProvenanceWilliam Shand Kydd (1937-2014), and thence by descent to the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Guy Taplin (British, born 1939)Pintail signed, titled, numbered and inscribed with foundry mark 'PINTAIL/GUY-TAPLIN 6/12 P.E.' (to underside)bronze with a green patina60.5cm (24in) long.Footnotes:LiteratureA. Csáky and I. Collins, Birds of Creation, Guy Taplin, Csáky Art, Sonning-on-Thames, 1998, illustrated on p. 184This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alan Glasby O.B.E. (British, 1945-2008)Kingfisher signed and numbered 'alan Glasby 53/75' (to base)bronze with a green and brown patina25cm (9 13/16in) long.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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