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Lot 400003
Rülke, Ernst (Leipzig 1896 - 1964 Bonn) "Totenmaske von Gerhart Hauptmann", Bronze mit goldbrauner Patina, Ernst Rülke nahm diese am 6. Juni 1946 in Agnetendorf vom verstorbenen Dichter ab, von der Gipsmaske wurden nur 3 Exemplare in Bronze gegossen, 23,5 x 16,3 cm, in wohl org. Kassette, Provenienz südwestdeutsche Privatsammlung, erworben bei Lempertz Auktionen, mit Beischreiben des Vor-Vorbesitzers der diese Maske 1978 erwarb, Gew. mit Kassette: 2,42 Kg., 3160 - 0243
Lot 400038
Berrocal, Miguel (Villanueva de Algeidas 1933 - 2006 Antequera), Parfüm-Sammlerflakon Les beaux arts design edition Nr. 3, "Eros", Figur aus Bronze, partiell farbig patiniert, mit Künstlersign. u. num. 7262/14999, 1994, H: 15 cm, Flakon mit Inhalt, ungebraucht in orig. Karton, mit Zertifikat, sehr gute Erhaltung, 3170 - 0025
Lot 400039
Fuchs, Ernst (Wien 1930 - 2015 Wien), Parfüm-Sammlerflakons Les beaux arts design edition Nr.9, "Zauberflöte, Papageno u. Papagena", Figuren aus Bronze, mit Künstlersign. u. num. 216/7500 bzw. 249/7500, H: 15,5 bzw. 16 cm, Flakons mit Inhalt, ungebraucht in orig. Kartons, mit Zertifikat, sehr gute Erhaltung, 3170 - 0017
Lot 400036
Fuchs, Ernst (Wien 1930 - 2015 Wien), "Sphinx II", Bronze mit goldbrauner Patina, auf linkem Oberschenkel Gießerstempel "Strassacker Kunstguss Süssen", num. 124/1000, Monogramm u. 92, auf Marmorsockel montiert, Figur: 26 x 25 cm, B: 16,5 cm, Sockel: 4 x 22 x 15 cm, Gesamthöhe: 30 cm, WVZ Messner Nr. 39, sehr gute Erhaltung, Gew.: 12 Kg. 3274 - 0001
Lot 400037
Shiraishi, Barry (geb. London 1938), zwei Parfüm-Sammlerflakons Les beaux arts design edition, "Love Story, Homme e Femme", Figuren aus Bronze, partiell farbig patiniert, mit Künstlersign. u. num. 396/7500 bzw. 464/7500, H: 16,5 bzw. 18,5 cm, Flakons mit Inhalt, ungebraucht in orig. Karton, mit Zertifikat, sehr gute Erhaltung, 3170 - 0019
Lot 60022
Konvolut Reichsberufswettkampf 1939, Deutsches Reich 1933 - 1945, bestehend aus: Abzeichen Kreissieger im Reichsberufswettkampf, in Bronze, Email etwas best. u. partiell abgeplatzt; Bewertungsbogen für die praktische Arbeit; Urkunde sportliche Leistungsprüfung; Blatt Berufserziehungswerk Stuttgart und org. Umschlag Berufswettkampf aller schaffenden Deutschen, ausgestellt Württemberg-Hohenz. Kirchheim-Teck, alle Papiere mit Altersspuren, 3166 - 0003
Lot 400042
Bruni, Bruno (geb. Gradara 1935), Parfüm-Sammlerflakon E & C Luxusmarken-Vetriebsgesellschaft mbH, "Clinch", Hommage an Darius Michalczewski, Figur aus Bronze, goldbraun patiniert, mit Künstlersign. u. num. 3134/30000, H: 18,8 cm, Flakon mit Inhalt, ungebraucht in orig. Karton, mit Zertifikat, sehr gute Erhaltung, 3170 - 0022
Lot 400051
Corpus Christi, 2. H. 20. Jh., im romanischen Stil, Bronze, als Viernageltypus, reich ornamentierter Lendenschurz, Christushaupt von Krone bekrönt, H: 21 cm, B: 18 cm, auf Holzkreuz montiert, Gesamthöhe: 50 cm, Gesamtbreite: 22,5 cm, Provenienz: aus einer südwestdeutschen Privatsammlung, 3160 - 0365
Lot 400040
Fuchs, Ernst (Wien 1930 - 2015 Wien), Parfüm-Sammlerflakon Les beaux arts design edition Nr.9, "Zauberflöte, Königin der Nacht", Figur aus Bronze, partiell farbig patiniert, mit Künstlersign. u. num. 748/7500, H: 20 cm, Flakon mit Inhalt, ungebraucht in orig. Karton, mit Zertifikat, sehr gute Erhaltung, 3170 - 0018
Lot 280005
Kleine Tischuhr, "Le Lorrain", Frankreich um 1880, kugelförmiger Korpus aus Bronze mit Régulemontage, kleines Handaufzugswerk, Schlüssel fehlt, vorstehende Unruh, Uhr läuft, Zifferblatt mit aufmontierten arab. Zahlen, überhalb beschriftet "Le Lorrain", unterhalb "Bruxelles", Uhr montiert auf weißem Marmorsockel, bekrönt mit lyraförmigem Aufsatz mit Sonne, H 17,5 cm, Stundenzeiger abgebrochen. 3169-039
Lot 13
A gilt-bronze figure of the Borghese Gladiatorafter the antique, probably French, third quarter 18th centurythe nude male with his head turned to sinister and his left arm raised above his head, raised on a rectangular gilt bronze mounted and ebonised wood base, 45.5cm high overallFootnotes:Provenance:Purchased Christie's, 500 Years: Decorative Arts Europe, 8 July 2010, lot 137 (as 'Property of a gentleman').For further information on this lot please visit Bonhams.com
Lot 163
A fine Italian micromosaic panel set within a later malachite and silver gilt mounted box, the lid depicting a view of the Pantheonthe panel Roman, circa 1800, the box made in Florence for the jeweller Petouchi of Romethe inset micromosaic set within a border of rectangular form, the mounts marked 925 and FI 391, the box, 2.5cm high, 9.3cm wide, 6.3cm deep, the micromosaic, 4.5cm high, 6cm wide Footnotes:The Pantheon, dedicated to all Roman gods and perhaps one of the best preserved examples of antique Roman architecture was built by the Emperor Hadrian over the ruins of another temple around 125AD. However although it was converted to a Christian church as early as 609AD, by this time almost all of the marble and metal fittings and statues had been looted from its interior. The plundering of the both internal and external fixtures and fittings continued with the Emperor Constans II (r. 641-668AD) who also removed the bronze dome and then finally with Pope Urban VIII who pulled out many tons of bronze portico beams which were used for St. Peter's Baldacchino and also for new cannons for the Castel Sant'Angelo.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
Lot 29
Cesare Roccheggiani (Italian, act. second half 19th century): A micromosaic inlaid black marble circular paneldepicting a bouquet of brightly coloured garden flowers, mounted within a pierced gilt bronze frame, the rear with gilt tooled makers mark, the panel, 27cm diameter, the frame, 33cm diameter Footnotes:As a member of a well-known dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, he was possibly also related to Nicolo Roccheggiani, possibly Lorenzo's son and another artist at the Vatican a little later in the century. Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856-1864, little was known of Ceasre Roccheggiani before he established his own atelier. However, more recent examination of his mosaics suggests that he may have worked in the atelier of Michelangelo Barberi given the strong influence of the latter's style, and in some cases Rocchegiani directly copied some of Barberi's compositions, such as the famous 'Rome by Night and Day'. After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella, until 1873, the year before Roccheggiani first opened his own business.In the mid-19th Century nearly one hundred mosaicists were active in Rome, often small workshops producing large quantities of pieces on a small scale, to serve the burgeoning tourist trade. By comparison the best studios such as Roccheggiani's produced more substantial or finer micro-mosaics in much smaller quantities. These sought after works remained the preserve of the rich and powerful and many, often produced by the Vatican workshop, were either commissioned by aristocrats and monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851. A contemporary photograph of Roccheggiani's shop front shows the broad range of mosaics that his company offered and a guidebook to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Roccheggiani's mosaics were exhibited at the 1876 Centennial International Exhibition at Philadelphia and the Melbourne International Exhibition, 1880, and his standing was such that he served as a committee member for The Italian Exhibition in London in 1888.Examples of his work in the UK include an étagère with mosaics in the Gilbert Collection, Victoria and Albert Museum, and a necklace in the British Museum, London (see Gabriel, 2000, no. 59; Gere, 1984, no. 966).For further information on this lot please visit Bonhams.com
Lot 46
After Andrea del Verrocchio (Italian, 1435-1488): A 19th century Italian patinated bronze figure of Davidthe youth his left foot resting on the head of Goliath, his left hand on his hip, his head turned to sinister, on square base, raised on a stepped black marble square plinth, 62cm high overallFor further information on this lot please visit Bonhams.com
Lot 47
After Antoine Denis Chaudet (French, 1763-1810): A patinated bronze figural group of Belisarius and his Guidethe blinded Byzantine general, holding a staff, clad in classical drapery, seated beside his young crouching guide, on circular naturalistic base, enscribed DATE OBOLUM BELISARIO and signed Chaudet Fecit41.4cm highFootnotes:Antoine Denis Chaudet was a neoclassical sculptor, painter and draughtsman. Formerly a pupil of Jean Baptiste Stouf and Étienne Gois he won the Grand Prix de Rome in 1784 and was sent to the Académie de France in Rome between 1784 and 1788. He became a member of the Academy in 1789 and of the Institute in 1805. As the favourite sculptor of Napoleon he was given the prestigious commission to execute the bronze statue of the Emperor in Roman costume to be installed on top of the column in Place Vendôme as previously he modelled what was to become the official portrait bust of Napoleon in 1799. Many reproductions of this bust were carved in Carrara marble for dispersal throughout the empire and interestingly, Chaudet's bust was apparently regarded as a more favourable likeness than the work by his contemporary Canova. From 1807 onwards, marble busts of Napoleon by both the sculptors were being offered at Elisa Baciocchi's shop at 9 Boulevard des Italiens in Paris where no doubt classical works such as the current lot were also sold.For further information on this lot please visit Bonhams.com
Lot 60
Attributed to Luigi Valadier (Italian, 1726-1785): A marble, porphyry and bronze mounted model of the Rostral columnthe columnar shaft, with applied ribbon tied laurel wreaths, on stepped pedestal above a verdi antico and porphyry square plinth base, (the column lacking its side mounts), 77.5cm high overallFootnotes:Andrea and Luigi Valadier were the foremost goldsmiths and bronze workers in Rome, completing commissions for the Pope as well as numerous cardinals and others associated with the Church. Luigi was the son of Andrea and became a Master Goldsmith in 1760. Counting amongst his prestigious clients Pope Pius VI, who visited Valadier's workshop four times, and the Archduke Ferdinand of Austria, Karl IV, and Elector Palatine, he also received commissions from churches throughout the world including Mexico, Spain and Austria as well as well as throughout his native Italy.Luigi had an impressive ability to reframe examples of ancient Roman art and architecture and antique sculptures, cameos, architectural details, and 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 jewellery.Despite his distinguished clientele and acclaim, Luigi committed suicide by drowning himself in the Tiber in 1785, probably because of heavy debts to his creditors due to non-payment of invoices by his clients. On his death, his business passed to his son Giuseppe.A rostral column is a type of victory column originating in ancient Greece and Rome, where they were erected to commemorate a naval military victory. Its defining characteristic is the integrated prows or rams of ships, representing captured or destroyed enemy ships. The name derives from the Latin rostrum meaning the bow of a naval vessel.For comparable Rostral columns by Valadier, see the following publications: Le dossiers du musee du Louvre, Luigi Valadier au Louvre ou l'Antique exaltee, Reuion des Musees Nationaux, 1995, p21. fig 1 & 2Alvar Gonzalez Palacios, Luigi Valadier., The Frick Collection, 2018, p171. fig 4_43.Denise Ledoux-Lebard, Le Grand Trianon: Meubles et objets d'art (Inventaire Général du Musée national de Versailles et des Trianon), p. 46-7, Inv. Trianon: (1855) T 1268 (1894) T235c.For further information on this lot please visit Bonhams.com
Lot 65
A pair of French Restauration gilt bronze models of the Medici vaseseach of campana form cast with Bacchanalian putti, above twin lion mask handles, on fluted socle, and square bases, raised on a verdi antico square stepped plinths with foliate border mounts, 28.7cm high overall (2)Footnotes:Provenance: Purchased by the vendor from Renoncourt, 11 Quai Voltaire, Paris VII, 1972.Inspired by the celebrated marble 'Borghese' and 'Medici' originals from the first century A.D., the design of the current lot closely relates to the work of the celebrated Frecnch bronzier Pierre-Philippe Thomire (1751-1843)For further information on this lot please visit Bonhams.com
Lot 66
Attributed to Giuseppe Valadier (Italian, 1762-1839): A gilt and patinated bronze and marble figural three light candelabrumthe twin reeded scrolling arms centred by a corresponding upright, issuing from a leafy capital, all with fluted nozzles and swept drip pans above foliate collars, the whole supported by a classical maiden, standing on a square white marble pedestal with applied mask head and floriate mounts, on moulded stepped black and giallo antico square shallow plinth base, 42cm high overallFootnotes:Andrea and Luigi Valadier were the foremost goldsmiths and bronze workers in Rome, completing commissions for the Pope as well as numerous cardinals and others associated with the Church. Luigi was the son of Andrea and became a Master Goldsmith in 1760. Counting amongst his prestigious clients Pope Pius VI, who visited Valadier's workshop four times, and the Archduke Ferdinand of Austria, Karl IV, and Elector Palatine, he also received commissions from churches throughout the world including Mexico, Spain and Austria as well as well as throughout his native Italy.Luigi had an impressive ability to reframe examples of ancient Roman art and architecture and antique sculptures, cameos, architectural details, and 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 jewellery.Despite his distinguished clientele and acclaim, Luigi committed suicide by drowning himself in the Tiber in 1785, probably because of heavy debts to his creditors due to non-payment of invoices by his clients. On his death, his business passed to his son Giuseppe.For an illustration of an original pen and wash drawing by Valadier showing a comparable figural candlestick support and a vase candelabra with comparable twin arms, see Alvar Gonzalez Palacios, Luigi Valadier, The Frick Collection New York, 2018, Fig.5_25, p. 234.For further information on this lot please visit Bonhams.com
Lot 68
A fine and significant Italian pietra dura table top on an ebonised and gilt bronze mounted centre table or gueridonthe pietra dura top circa 1850 and probably Florentine, the 19th century table apparently of a slightly later dateThe black marble top inlaid with an assortment of hardstones and marbles including lapis lazuli, duke's red, white marble and turquoise, the central assorted floral bouquet comprised of madonna lilies, convulvus, roses, 'forget-me-nots', violas, jasmine and 'lily of the valley' together with a bunch of grapes, within a wreath-form border comprising a variety of pearl pendant-hung ribbon-tied flowers and floral trails, the surround with a central coat of arms surmounted by a lion rampant and above the motto: 'PRO PATRIA', with a detachable rosette-embedded guilloche frieze below, on a ring turned baluster column, with a concave tripartite base terminating in roundel turned feet and brass castors, the underside of the table bearing an indistinct stamp, the pietra dura top: 77.5cm x 66cm x 3.5cm; the table: 83cm wide x 72cm deep x 80cm high, (32 1/2in wide x 28in deep x 31in high)Footnotes:Provenance:At some point in the mid 19th century the offered pietra dura table top was commissioned in commemoration, or perhaps more accurately in celebration, of a marriage between two individuals, one from the Wallace family and one from the Lowles.Two related 19th century pietra dura table tops are illustrated in A. Giusti, Pietre Dure: Hardstone in Furniture and Decorations, 1992, London, whilst a couple of further tops, along with the aforementioned, appear in l'Opificio dell Pietre Dure nell'Italia Unita, dagli Splendori di Corte al Lusso Borghese, ed. by A. Giusti, 2011, Florence, No. 2, pp.'s 90-91; No. 14, p. 110; No. 28, pp.'s 134-135; and No. 32, pp.'s 144-145.One of these remarkable pietra dura tops, despite featuring in both of the previously referenced books, is also highlighted in yet another of Annamaria Giusti's impressive academic works on the subject. This specific book is A. Giusti, Pietre Dure and the Art of Florentine Inlay, 2006, London, ill. 186, pp.'s 228-229 & ill. 200, p. 244. Whilst the top so understandably focussed upon by Giusti is a true 'tour de force' in pietre dure and incorporates similar colourful flowers and bunches of grapes to those on the present example. In addition to these, a Florentine table top with a closely comparable central floral bouquet and distinctive border comprised of assorted flowers to those on the offered model, is pictured in Koeppe, Wolfram and A. Giusti, Art of the Royal Court, Treasures in Pietre Dure from the Palaces of Europe, 2008, New York, pp.'s 98-99.The Coat of ArmsThe arms depicted upon the present pietra dura top are those of Wallace impaling Lowle, or rather they are the marital arms of the families of Wallace and Lowle. Consequently it seems a logical conclusion that this commemorates, or possibly more accurately celebrates, the marriage of two individuals from these respective dynasties, the identities of whom currently remain unknown.The display of the arms of Murray in the second and third quarters of the husband's arms suggest that he was descended from the marriage of the Reverend John Wallace (circa 1674-1733) and Christina Murray (circa 1676-1755). John Wallace served as the minister of the parish of Drumelzier, Peeblesshire, in the Scottish borders, whilst Christina was the daughter of William Murray of Cardon and the latter's wife, Christina Veitch. It is documented that John and Christina were married in Edinburgh on 5th March 1706. The Murray arms as depicted here certainly pertain to the Murrays of Falahill in the county of Midlothian, from whom Christina and the territorial house of Murray of Cardon were descended.Although there is an apparent shortage of available records, due to the marshalling of the arms depicted on this coat of arms, we may conjecture that a marriage definitely occurred between the Wallaces and an heiress of the Lowle family at some point in the late 18th or early 19th century. It is notable too that the youngest son of John and Christina, also called John (baptised 1718-1783), emigrated from Scotland thereafter settling in 1742 in British North America, where the latter established the family of Wallace of Burlington, New Jersey and Philadelphia.According to the monumental inscription on the memorial for John Wallace, located above his grave in St. Peter's church in Philadelphia, he died at the age of sixty-five years old at Hope Farm in Somerset County, New Jersey. Not far from John Wallace's memorial is another Wallace vault displaying the family arms. These arms seem identical to those appearing in the first quarter of the coat of arms on the above table top, with their closely comparable demi-lion crest and the motto: 'Pro Patria' which unquestionably denotes kinship to John.Despite the possibility of it being purely coincidental, with regards to the Lowle dynasty someone called Percival Lowle (1571-1665) also left Britain in order to begin a new life in America. Over there, he would eventually establish himself as the patriarch of this Lowle family, whose surname changed over time to ultimately become 'Lowell' instead of maintaining its original spelling. Once they finally settled in Boston, Massachusetts, the Lowles, who originally hailed from Clevedon in Somerset and Yardley in Worcestershire, went on to become one of the major families there, eventually being referred to as the 'Boston Brahmins'. It is incredible to ponder that this particular work of supreme skill also proves that a marriage took place between the progeny of two wealthy and prominent British emigre families far from their ancestral homeland.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
Lot 80
A mid 19th century patinated bronze bust of Dionysusafter the antique, French or Italianmodelled bare shouldered looking downwards slightly to dexter, his curling long hair arranged in a knot to the rear and dressed with a leafy diadem, on circular waisted socle, 25cm high approximately For further information on this lot please visit Bonhams.com
Lot 77
Flemish school, pps.s.XVI."Annunciation".Oil on panel.Restorations and faults.Twentieth century frame, following sixteenth century models.Faults and xylophages in the frame.Measurements: 74.5 x 61 cm; 88.5 x 74 cm (frame).In this painting, of excellent workmanship, we can appreciate a style rooted in the Flemish tradition, to which the Italian influence is added. The best of the two traditions converged in the painting of Pieter Coecke, whose models the present painter closely followed, being a contemporary of his. See the compositional and formal similarity between this Annunciation and Coecke's Annunciation (dated around 1525, Escalona Altarpiece, Toledo). The archangel Saint Gabriel appears to the Virgin, who was immersed in reading, as can be seen from the closed book on the table and her gesture of surprise. The distribution of the space, as well as the silent dramaturgy with which the two characters communicate, is similar to that of Coecke. The canopied bed is on the right, behind the Virgin, and the Holy Spirit is inscribed in a golden oval. Separating the supernatural element from the domestic interior allows the painter to describe every detail of the room without interruption: the delicacy of the furnishings, the fabrics, cushions and velvets. The sensuality of the draped robes of the two figures and the stylisation of their canons also stand out. The bronze lamp hanging from the ceiling, the golden rod carried by the angel, wrapped in a phylactery, are all expressed with the subtle language characteristic of the Flemish school, while at the same time combining Italian solutions, for example in the perspective traced through the floor tiles that take us into the sacred privacy of the room.
Lot 391
3 Matchbox Superfast. 22d Freeman Intercity, in metallic gold, with off white interior, yellow arrow labels to sides, clear glazing with unpainted base. 27d Mercedes Benz 230SL. In yellow with black interior, clear glazing, unpainted base with thin wheels. Plus a 29d Racing Mini, metallic bronze body, off white interior, unpainted base, black wheels, RN29 on yellow label to offside only. All boxed, 22d box some wear/crushing. Vehicles VGC-Mint. £60-80
Lot 106
A GROUP OF SOUTHEAST ASIAN BUDDHIST ITEMS. To include a carved soapstone figure of Buddha, a bronze Buddha pendant, a small bronze Thai Buddha with Thai inscription in relief, a Thai pottery amulet and one other early bronze amulet. Soapstone figure 15cm height. Pendants / amulets approx. 3cm lengths. (5)The early thin bronze amulet with slight cracking to top corner. The rest in good overall condition.
Lot 185
A CHINESE FRAMED PORCELAIN TILE, 19TH CENTURY. Finely painted with scene of the Eight Immortals in mountain courtyard with crashing waves and building raising from clouds. Mounted in a later carved wood frame with bronze handle. 51.5cm x 38.5cmPorcelain in good condition without signs of damage or repair. Overall good condition with general surface wear to frame.
Lot 219
ANN CHRISTOPHER (b.1947), 'FLAT CIRCLE', 1987, bronze, edition two of nine, monogram signed and dated 'AC 2.9 87' together with four catalogues of Ann Christopher's work. No catalogues in this lot list 'Flat Circle' however a digital image of this work listed in another catalogue is provided for reference only. 26cm height.Provenance: Purchased in 1992. With original invoice no. 828. Total £800Please note: Artist's Resale Right / Droit de Suite. Artist's Resale Right Regulations 2006 may apply to this lot if the hammer value reaches or exceeds the equivalent of €1000 - A charge of 4% will be added to hammer price in this case.
Lot 220
ANN CHRISTOPHER (b.1947), 'EARTH LINE', 1986, bronze, edition five of nine, monogram signed and dated 'AC 5.9 86' together with a catalogue listing 'Earth Line' and one other printed card showing work by Ann Christopher. 24.5cm heightProvenance: Purchased in 2001. With original invoice no. 376. Total £1175Please note: Artist's Resale Right / Droit de Suite. Artist's Resale Right Regulations 2006 may apply to this lot if the hammer value reaches or exceeds the equivalent of €1000 - A charge of 4% will be added to hammer price in this case.
Lot 221
ANN CHRISTOPHER (b.1947), 'LINE FROM WITHIN I', 1993, bronze, edition three of nine, monogram signed and dated 'AC 3.9 86' together with two catalogues listing 'Line From Within I'. 29cm height.Provenance: Purchased in 2002. With original invoice no. 447. Total £1300Please note: Artist's Resale Right / Droit de Suite. Artist's Resale Right Regulations 2006 may apply to this lot if the hammer value reaches or exceeds the equivalent of €1000 - A charge of 4% will be added to hammer price in this case.
Lot 52
AN EARLY CHINESE GILT-BRONZE FIGURE OF BUDDHA, POSSIBLY WEI DYNASTY. An early bronze figure of Buddha seated on a raised lotus pedestal with traces of gilding. 10.5cm heightOverall good condition with general surface wear expected with age. Traces of gilt left mainly to the front of the figure and base.
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