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Lot 676
ERNST OLDENBURG1914 Danzig - 1992 Unna'STEHENDE I, 3. VERSION' (1961) Bronze, 4 Lebzeitgüsse in Bronze. 54 x 11 x 23 cm. Seitlich auf der Plinthe monogrammiert und datiert 'EO (19)61 III'. Part. min. mit Oxidationsspuren. Literatur: Vgl. Pese/Ramas Oldenburg S7. Provenienz: Privatsammlung Ruhrgebiet.
Lot 986
PAUL WUNDERLICH1927 Eberswalde - 2010 Saint-Pierre-de-VassolsSTUFENPYRAMIDENSTELE (1994) Bronze, mit dunkelbrauner Patina, part. poliert. H. 35,5 cm. Seitlich auf der Plinthe mit Signaturstempel 'Wunderlich', nummeriert '130/1250' sowie Giessereistempel. Seitlich an der Plinthe mit Oxidationsspuren. Literatur: Spielmann II, 252.
Lot 971
ERWIN A. SCHINZEL1919 Jägerndorf (Sudetenland) - 2018 KarlsruheWEIBLICHER AKT MIT TUCH ('SIE SENKT DEN BLICK') Bronze, dunkelbraun patiniert. H. ca. 51 cm. Auf der Plinthe signiert, datiert '1988' und nummeriert '300/349' sowie mit Gießereistempel 'VENRURI ARTE, Bologna'. Part. min. Kratzspuren, part. min. Oxidationsspuren.
Lot 985
PAUL WUNDERLICH1927 Eberswalde - 2010 Saint-Pierre-de-Vassols'MONDSICHELSTELE' (1994) Bronze, mit dunkelbrauner Patina, part. poliert. H. 39,5 cm. Auf der Plinthe seitlich hinten mit Künstlerstempel 'Wunderlich', nummeriert '130/1250', sowie Giessereistempel. An der Plinthe part. mit Oxidationsspuren. Literatur: Spielmann II, 238.
Lot 1015
BRUNO BRUNI1935 Gradara bei Pesaro (Italien) - lebt und arbeitet in HamburgCANDELIERI DA TAVOLA 3 Tafelleuchter, Bronze, mit dunkelbrauner, teilw. mit grüner Patina, ARA-Kunst, Dr. Fritz Albrecht, Altrandsberg. H. 64 cm bzw. 58,5 cm bzw. 54 cm. Jew. auf der Plinte mit Künstlersignatur, jew. nummeriert '145/500' sowie mit Giessereistempel. Part. mit Wachsrückständen, part. mit Oxidationsspuren.
Lot 994
FRANZ JOSEF LIPENSKY1932 Böhmisch-LeipaKONVOLUT VON 3 HASEN-FIGUREN Bronze, mit dunkelbrauner Patina. H. 7 cm, B. 17 cm bzw. H. 6 cm, B. 13 cm. Jew. unter dem Stand signiert 'FJLipensky' sowie nummeriert '8/15' bzw. '5/15' bzw. '1/19. Part. mit Oxidationsspuren. Expertise: Mit Kopie der Rechnung von der Bronzegalerie Zinnlade, Wiesbaden.
Lot 477
dating: about 1820 provenance: London, Smoothbore, two-stage, bronze barrel, octagonal at the first part with frame engraved at the base, marked 'LONDON' and with two marks of the test bench, then round, after a ring, with molded muzzle. Iron tang. Flintlock made of engraved iron and provided with an anti-friction system. Wooden full stock with checkered handle (small restorations), with brass mounts engraved with floral motifs. Brass-tipped, wooden ramrod. length 75 cm.
Lot 478
dating: Early 19th Century provenance: Dublin, Smoothbore, two-stage, bronze barrel, octagonal at the first part and marked 'LONDON', then round. The nozzle with circular bell-mouth, with moulded muzzle. Iron tang. Lock signed 'HALL' and with sober floral engravings. Full stock, the butt pierced with a triangle at the center. Smooth brass mounts. Brass-tipped, wooden ramrod. Artisanal quality. length 65 cm.
Lot 340
dating: first quarter of the 19th Century provenance: France, Curved and grooved blade with fullers, engraved with the writing 'GARDE DU CORPS DU ROI' between lilies on the right side, with a trophy and 'B' marks between laurels, and 'B' under star a crowned emblem with three lilies and another trophy the left side. Bronze hilt with remains of gilding. The guard with a crowned shield and three lilies on flags, all in relief. Hilt with leather covering and copper wire binding. Iron scabbard with two lugs and brass cap with remains of gilding. length 106,5 cm.
Lot 465
dating: first quarter of the 19th Century provenance: Northern Europe, Round, two-stage, 16.5 mm cal barres, with short faceted segment at the center. Locks with no marks, working mechanisms. Wooden half stocks with restorations. The iron parts with pitting. Bronze-colored, iron mounts. Iron ramrods. length 33,5 cm.
Lot 427
dating: Second half of the 19th Century provenance: Europe, Shaped as a shell-guard and made of bronze. The front surface is slightly convex and depicts a beautiful equestrian battle scene in relief with knights wearing Renaissance-style and fighting against (Turks?) mounted soldiers. The outer surface with remains of gilding. In the upper part two trophies and two assembly loops. height 21,5 cm.
Lot 482
dating: about 1720 provenance: Brescia, Smoothbore, three-stage barrel, octagonal at the first part and with grooves and signature 'DOMENICO BONOMINO', the central segment with sixteen faces and ring edges, then round with a strongly bell-mouthed, round muzzle and with engraved ring. Lock with round plate finely engraved with floral motifs. Wooden stock with bronze mounts, pierced counterplate and pierced and engraved escutcheon, butt plate with floral engravings, an engraved and pierced escutcheon at the back. Belt hook with iron ring. Brass-tipped, wooden ramrod. For Domenico Bonomino see 'Repertorio Storico Degli Archibugieri Italiani dal XIV al XX Secolo' by Barbiroli, page 128. length 98.5 cm.
Lot 327
dating: Mid 19th Century provenance: France, Bronze barrel (length 30 cm) of round section, with moulded muzzle, cylindrical trunnions (marked 'VIAIF'), rectangular handles and dorsal vent, round cascabel knot. On movable, wooden gun carriage with iron mounts. Good quality. length total 48 cm.
Lot 308
dating: circa 1880 - 1890 provenance: The Philippines, Morion-shaped helmet with bronze mounts, the central band worked in one piece, the top with the summit facing backwards, the sides richly perforated with floral motifs, two curved and smooth side bands, a row of flower-shaped rivets (three missing) at the base, the lateral parts lined with two buffalo-horn plates (Bubalus bubalis), brim with hemmed edge, the front with two plume-holders. Small missing parts and restorations. The armor consists of bronze plates held together by a brass mail with a simple ring-closure. The front part with two large plates provided with two hooks worked with engraved, bronze plates. Height: about 67 cm. An extremely rare ensemble, especially for the morion with horn sides. The piercing of the helmet and the quality of the armor indicate a high-rank owner. height morion 20.5 cm.
Lot 320
dating: 1646 provenance: Holland, Heavy, bronze barrel (63 cm long) with rings and moulded muzzle decorated with laurel in bas-relief, cylindrical trunnions, dolphin-shaped handles, the base with family crest with three fish in the upper quadrant and three flowers in the lower part, under a bandeau with the date '1647', upper vent, cascabel knot and its base decorated with bas-relief foliage. Fine wooden carriage with iron mounts, tool hooks on one side. Very rare. length total 96 cm.
Lot 347
dating: about 1880 provenance: Kingdom of Italy, Slightly curved, single-and short-false-edge blade with central fuller, the tang marked 'F. HÖRSTER SOLINGEN', finely engraved with anchor (without crown) and floral motifs. Beautiful hilt in gilded brass, the guard featuring an anchor without crown among scales, folding rear-valve, pommel shaped as a lion's head with button shaped as a stylized crown; wooden hilt covered with fish-skin and metal wire binding. Leather scabbard with engraved, bronze mounts and remains of gilding. Two suspension rings. Rare. length 88 cm.
Lot 366
dating: Mid 19th Century provenance: Austria, Long, single-and false-edged blade with wide fuller, numbered 97.3.' at the shoulder and with a round mark featuring a vector at the back, the shoulder with Imperial mark '24' and another mark; complete with leather scabbard featuring bronze mounts. length 71.8 cm.
Lot 351
dating: 1840 circa provenance: Kingdom of Naples, Curved, single-edged blade with a wide fuller the tang marked 'MENARD' (?). 1821 model, French-style, gilt-bronze hilt (small missing parts) and partially engraved with floral motifs. A movable ring next to the pommel. Horn hilt with spirals with metal wire binding. Leather scabbard with brass mounts and two suspension rings on bands with a relieved band. See a sabre with a very similar scabbard in 'Storia dell'Arma Bianca Italiana' by Cesare Calamandrei, page 465. length 86 cm.
Lot 475
dating: Early 19th Century provenance: London, Smoothbore, round, bronze barrel, engraved at the base with floral motifs, marked 'London' and with two marks of the test bench, round nozzle with molded muzzle. Engraved iron tang. Iron lock signed 'BARBAR' and with floral engravings. Wooden full stock with brass mounts featuring sober floral engravings. Horn-tipped, wooden ramrod. Restoration at the butt. length 81 cm.
Lot 319
dating: mid-17th Century provenance: Holland, Heavy, bronze barrel (60.5 cm long) with rings and moulded muzzle decorated with bands of flowers in bas-relief, the one at the center with mask, cylindrical trunnions, dolphin-shaped handles, the base with family crest with three stars, arm with stick and tower, upper vent, acorn-shaped cascabel knot. Fine wooden carriage with iron mounts, hooks for the tools on one side. Two closing pins of the trunnions are missing (but still featuring the chains). Very rare. length total 97 cm.
Lot 119
dating: Late 19th Century provenance: Milan, 'Re cacciatore. ritratto di Vittorio Emanuele II di Savoia'. In-the-round, bronze effigy of King Vittorio Emanuele II wearing hunting vests and armed with a shotgun. The sculpture is mounted on a bronze base with the marking 'A. PANDIANI MILANO / ESPOSIZIONE IND. MILANO 1881.' Antonio Pandiani (Milan, 1838 - 1928) belonged to the homonymous dynasty of Milanese artists and industrialists. He loved to reproduce important Italian historical monuments in miniature. height total with base 51 cm.
Lot 331
dating: late 18th Century provenance: France, Single-and false-edged blade, with fuller at the center and then flat. Engraved with a noble coat of arms with the inscription 'CANDIDE' at the first part, two rampant lions with an axe under the crown on the other side, both sides with floral decorations. Silver, 'S'-shaped quillon decorated with rocaille in bas-relief. Ebony hilt with pommel sculpted as a lion's head, long cap and bronze button. Leather scabbard (abrasions) with silver mounts, the cap worked en suite with the quillon. length 39.5 cm.
Lot 323
dating: circa 1700 provenance: Spain, Heavy, three-stage barrel divided by rings, the breech plates with in-the-round masks keeping the vent, the first stage with a plaque featuring an inscription, one mortar with the writing 'SANGANO' and the other with 'TITERE', the second stage is enlarged and smooth, the third one featuring a Spanish coat of arms with two towers and two rampant lions under a stylized crown and surrounded by a necklace. Obliquely mounted on a rectangular bronze base, with four closed holes at the base, probably the mortars were screwed onto a carriage or other support. The Spanish words 'sangano' and 'tìtere' mean 'stupid puppet', its figurative sense is probably different. dimensions 15 x 33.3 x 26 cm.
Lot 345
dating: about 1880 provenance: Kingdom of Italy, Wide, slightly curved, single-and short false-edged blade, wide fuller and tang. One-quillon, bronze hilt with few remains of gilding, langets with knotted loop-guard and rayed pommel. Checkered wooden hilt. Leather scabbard with bronze mounts and remains of gilding, cap and chape marked with 'CM' inside an oval. length 82 cm.
Lot 321
dating: 18th Century provenance: Liechtenstein, Bronze barrel with three stages and moulded nozzle divided by rings, cylindrical trunnions, handles shaped as a stylized dolphin and slightly engraved with floral motifs. Breech plate with vent decorated with leaves, cone-shaped cascabel knot. On original wooden carriage with iron mounts. Featuring a brass disk plate with collection number '5373'. Provenance: Collection of the Princes of Liechtenstein length total 86 cm.
Lot 268
dating: 18th Century provenance: India, Curved, single-and false-edged curved blade, probably made of damask (very clean), with double thin groove at the center and tang. Iron hilt with beautiful floral decorations in gold (few missing parts), large disk-pommel with inscription in the lower part around the hilt. The upper part with rayed hilt, engraved as the edge, the lower cusp with convex base and decorated with gold flowers. Wooden scabbard covered with velvet and with gilt and pierced, gilded-bronze mounts. Rare. length 95.5 cm.
Lot 353
dating: Mid 19th Century provenance: Papal States, Straight, double-edged blade, with a fuller featuring several piercing at the forte; the rest of the blade grooved at the center. Gilt-bronze hilt, the valve with trophy in relief. Guard with floral decorations. Checkered ebony grips. The front one with a rhombus-shaped plaque (small if compared to the slot) engraved with a flaming grenade. Leather scabbard with gilt and engraved metal mounts. length 88 cm.
Lot 354
dating: Mid 19th Century provenance: Papal States, Beautiful, straight, single-and false-edged blade, flat at the first part and then with double fuller, the flat part finely engraved with trophies, flowers and the motto 'VIVA PIO IX', bronze hilt with flat guard, partially decorated with floral motifs, long cap shaped as a lion's head, remains of gilding, horn hilt with metal wire binding; iron scabbard with two lugs and bronze mounts with remains of gilding. length 96.5 cm.
Lot 206
dating: 18th Century provenance: France, Made of bronze with remains of gilding, round heel bands decorated with bands and 'X'-segments in high relief, provided with buckle and engraved button; spherical neck with horizontal grooves, angled and faceted gun-fork, pierced star decorated with stylized lilies. Provenance: 'La Boisselière' Collection. length 17 cm.
Lot 508
dating: Mid 19th Century provenance: London, Rifled, round, browned, 17 mm cal barrels (clean bores with two visible deep grooves), with rib signed 'REILLY NEW BOND STREET LONDON', the base engraved with floral motifs, three fore-ends (100, 150, 250), silver foresight, marks of the London test bench below, two other marks and serial number '5991'; large tang engraved with a deer's head among floral and geometric decorations. Forward spring locks signed 'REILLY LONDON', provided with secure-lock and engraved with very fine hunting motifs. Wooden stock with palm rest and handle. Iron mounts decorated en suite, the lower tang with serial number '991'. Solid, wooden ramrod with bronze mounts. In its original wooden case with brass mounts, lined with green cloth with Reilly's label. Containing a vast assortment of accessories such as five bullet molds and pliers, different tools and spare parts such as hammers and springs, cleaning tools and more. Together with a 1916 purchase invoice of a Florentine gunsmith for guns manufactured in British and Belgian factories. length 114.5 cm.
Lot 85
dating: about 1710 provenance: Austria, Long, round, smoothbore, 15 mm cal barrel, with square base and rib provided with front sight, gold decorations all over its length, the base with a warrior on a trophy and two dragons underneath, the rib with a garland of floral motifs, the nozzle decorated with a warrior on a trophy similar to the one on the base, parts of the original browning; iron tang decorated en suite and provided with sight. Flintlock battery with golden-brass plate, engraved with a mask and flowers on a granulated background, iron cock, spring, and batterie, the cock decorated en suite. Long, lightly carved, beautiful wooden stock (restorations) with beautiful gilded-bronze (50% gold) mounts richly engraved with crossed bands and floral motifs, pierced counter-plate with a large mask at the center, pierced escutcheon surmounted by a mask, horn fore-end cap. Horn-tipped, wooden ramrod. See a pair of similar pistols, same length and brass plate, in the Draeger collection, sold at Sotheby's on 7th December 1987 in Munich, lot 178, plate 83. length 54.5 cm.
Lot 169
Louis Majorelle (Toul, 1859 - Nancy, 1926) and Daum - Nancy. France. Art Nouveau. Circa 1900. Red-stained glass centrepiece with silver insertions. With a patinated wrought iron mount and gilded and patinated bronze applications depicting bunches of fruit. Signed: "L. Majorelle" and "Daum ≠Nancy". With its original label "MAJORELLE / NANCY". 17,5 x 30 x 30 cm.
Lot 12
Bottoli, Oskar(1921 - 1996)Sitzende Figur, 1981BronzegussMonogrammiert, datiert und nummeriert: 7/234,5 x 27 x 12 cmDie kleine Bronze von Bottoli zeigt eine Figur, die durch Ihre groben Züge androgyn erscheint. Das Studium bei Fritz Wotruba hat hier deutlich Spuren kantiger Stilelemente hinterlassen. Der Künstler zeigt Bewusst wie er versucht, die Figur aus dem Material zu lösen. Mit ähnlich starken Willen versucht sich die Figur wiederum sich aus der sitzenden Position zu erheben.
Lot 25
Sculptural group in patinated bronze, with base in black marble. Sculpture measures: 30.5 cm height. Measurements set: 35.5 cm. With visible Barwig signature on the back side of the bronze. Bibliography: Gabriele Kala: Die Tierplastiken Franz Barwigs des Älteren 1868–1931. Dissertation, Vienna 1978.
Lot 1
ALICIA PENALBA (1913-1982)Petite Ailée no 2 1969 signé, numéroté 5/7 et avec le cachet du fondeur Valsuani Paris bronze sur base en marbre signed, numbered 5/7 and stamped with the foundry mark Valsuani Paris bronze on a marble base Bronze : 30.2 x 35.3 x 19.8 cm. Bronze : 11 7/8 x 13 7/8 x 7 13/16 in.Avec la base : 51.4 x 35.3 x 19.8 cm. With the base : 20 1/4 x 13 7/8 x 7 13/16 in.Réalisé en 1969.Footnotes:Cette Å“uvre est enregistrée sous le n° S-35G-5 au Centre de Recherche Penalba, Bruxelles. ProvenanceCollection particulière, FranceAcquis auprès de celle-ci par le propriétaire actuelBibliographieFrédérick Aubourg, Alicia Penalba - Vers l'envol, Paris 2021, p. 168 et 169, un autre exemple illustré en couleursFor further information on this lot please visit Bonhams.com
Lot 30
HENRI LAURENS (1885-1954)Le torse 1935 monogrammé, numéroté 0/6 et avec le cachet du fondeur Valsuani cire perdue bronzewith the artist's initials, numbered 0/6 and stamped with the foundry mark Valsuani cire perdue bronze 67 x 54 x 43 cm. 26 3/8 x 21 1/4 x 16 15/16 in. Réalisé en 1935, cette Å“uvre est l'exemplaire n° 0 d'une édition de 6 plus 7 épreuves d'artiste numérotées de 1 à 6+.Footnotes:ProvenanceGalerie Louise Leiris, ParisCollection particulière, Paris (acquise en 1987 auprès de celle-ci)Puis par descendance au propriétaire actuelBibliographieWerner Hofmann, Henri Laurens. Sculptures, Teufen 1970, p. 154 et 155, un autre exemple illustré en noir et blancHenri Laurens nait en 1885 dans le milieu ouvrier parisien. Tailleur de pierre travaillant dans des chantiers de construction, il étudie parallèlement le dessin. Influencé par Auguste Rodin, il s'intéresse aussi à la sculpture romane et gothique. En 1908, il intègre La Ruche, rencontre Fernand Léger et découvre le cubisme. Ce n'est pourtant que tardivement au contact des artistes de Montparnasse qu'il s'illustre dans le cubisme à partir de 1915 aux côtés de Georges Braque, Juan Gris ou encore Pablo Picasso. En 1930 s'opère une transformation dans son Å’uvre. Henri Laurens travaille des volumes massifs auxquels il donne des courbes vibrantes et énergiques. La recherche, de cette dimension « organique » se retrouve dans ses nombreuses représentations de nus féminins dont se dégage une poésie caractéristique de l'artiste. En 1936, Laurens fait partie de la grande exposition Cubism and Abstract Art au Museum of Modern Art de New York. Cette exposition est une consécration pour l'artiste qui s'installe comme l'une des figures de tête de la sculpture moderne. L'année suivante, l'artiste participe à l'Exposition universelle de Paris. En 1951, fait assez rare à l'époque, une exposition rétrospective au Musée National d'Art Moderne de Paris est organisée de son vivant. L'année 1953 marque le dernier point culminant de sa carrière en remportant le grand prix de la Biennale de São Paulo en 1953. Henri Laurens meurt l'année suivante et laisse derrière lui une Å’uvre qui a joué un rôle majeur dans l'histoire de l'art moderne et qui a suscité l'admiration de ses contemporains comme le démontre le témoignage à son égard d'Alberto Giacometti : « Sa manière même de respirer, de toucher, de sentir, de penser devient objet, devient sculpture. (...) La dimension, la proportion, le mouvement de la sculpture s'établissent, se précisent et se déterminent enfin selon cette même sensibilité profonde et complexe. »Ce bronze est un exemple indiscutable de l'Å’uvre sculpturale d'Henri Laurens. La virtuosité de l'artiste est de jouer avec les torsions et l'expression de ce torse accroupi pour lui donner une puissance et une dimension organique. Les traits plus abstraits que cubistes en l'espèce, démontre cette sensibilité propre au génie de l'artiste.Henri Laurens was born in 1885 to the Parisian working class. A stonemason working in construction sites, he studied drawing at the same time. Influenced by Auguste Rodin, he was also interested in Romanesque and Gothic sculpture. In 1908, he joined La Ruche, met Fernand Léger and discovered Cubism. However, it was only later, through contact with the artists of Montparnasse, that he distinguished himself in Cubism from 1915, alongside Georges Braque, Juan Gris and Pablo Picasso. In 1930 a transformation took place in his Work. Henri Laurens worked with massive volumes to which he gives vibrant and energetic curves. Research of this 'organic' dimension is reflected in his numerous representations of female nudes from which emerges a poetry typical of the artist. In 1936, Laurens was part of the renowned exhibition Cubism and Abstract Art at the Museum of Modern Art in New York. This exhibition was foundational for the artist, establishing himself as one of the leading figures of modern sculpture. The following year, the artist participated in the Universal Exhibition in Paris. In 1951, a rare occurrence at the time, a retrospective exhibition at the Musée National d'Art Moderne in Paris was organised during his lifetime. The year 1953 marked the final highlight of his career by winning the Grand Prize at the São Paulo Biennale in 1953. Henri Laurens passed away the following year, leaving behind a Work that played a significant role in the history of modern art and that aroused the admiration of his contemporaries as demonstrated by Alberto Giacometti's testimony to him : 'His very way of breathing, touching, feeling, thinking becomes object, becomes sculpture. (...) The dimension, the proportion, the movement of the sculpture are established, precised and determined according to this same deep and complex sensitivity'.This bronze is an indisputable example of the sculptural work of Henri Laurens. The artist's virtuoso hand balances the sculptural body with the tension of the bent figure, giving it an intrinsic power and organic presence. The abstract rather than cubist features in this case demonstrate the sensitivity of the artist's genius.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
Lot 38
MIRKO BASALDELLA (1910-1969)Idolo 1960 bronze sur base en pierrebronze on a stone baseBronze : 50 x 17 x 19 cm. Bronze : 19 11/16 x 6 11/16 x 7 1/2 in. Réalisée en 1960, cette Å“uvre est unique.Footnotes:Cette Å“uvre est enregistrée sous le n° 0095 auprès de l'Archivio Corrado Cagli (représentant l'artiste Mirko Basaldella), Rome ; un certificat de l'Archivio Corrado Cagli sera remis à l'acquéreur.ProvenanceCollection de l'artiste, RomePuis par descendance au propriétaire actuelExpositionNew York, World House Galleries, Solo Exhibition, 1961Ce rare ensemble de deux sculptures et d'un tableau de Mirko Basaldella, provenant directement de la famille de l'artiste, est pour la première fois présenté au public et à la vente.Né en 1910 à Udine, Mirko Basaldella grandit dans une famille d'artistes et étudia à l'Académie des Beaux-Arts de Florence. En déménageant à Rome en 1933, il rencontra alors des artistes tels que Léoncillo et Corrado Cagli (il épousa sa sÅ“ur Serena) dont nous présentons une Å“uvre. En 1935, sa première exposition personnelle a lieu à la Galleria La Cometa à Rome. L'année suivante, il fut invité à représenter la Scuola Romana à la Biennale à la Venise.Au début des années 1950, il se rend aux États-Unis avec d'autres artistes italiens et eut une exposition personnelle à la célèbre galerie newyorkaise Catherine Viviano.En 1957, il fut nommé à la direction des Ateliers de Conception au Carpenter Center for the Visual Arts de l'université de Harvard de Cambridge au Massachusetts jusqu'à sa mort en 1969. This rare set of two sculptures and a painting by Mirko Basaldella, coming directly from the artist's family, is presented to the public and for sale for the first time.Born in 1910 in Udine, Mirko Basaldella grew up in a family of artists and studied at the Academy of Fine Arts in Florence. When moving to Rome in 1933, he met artists such as Leoncillo and Corrado Cagli (he later married his sister Serena) and whose work we present in this sale. In 1935, his first solo exhibition took place at the Galleria La Cometa in Rome. The following year he was invited to represent the Scuola Romana at the Biennale in Venice.In the early 1950s he travelled to the United States with other Italian artists and had a solo exhibition at the famous New York gallery Catherine Viviano.In 1957 he was appointed director of the Design Workshops at the Carpenter Center for the Visual Arts at Harvard University in Cambridge, Massachusetts until his death in 1969.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
Lot 39
MIRKO BASALDELLA (1910-1969)Piccola Nike 1961 bronze sur base en pierre bronze on a stone baseBronze : 37 x 19 x 10 cm. Bronze : 14 9/16 x 7 1/2 x 3 15/16 in. Réalisée en 1961, cette Å“uvre est unique.Footnotes:Cette Å“uvre est enregistrée sous le n° 0096 auprès de l'Archivio Corrado Cagli (représentant l'artiste Mirko Basaldella), Rome ; un certificat de l'Archivio Corrado Cagli sera remis à l'acquéreur.ProvenanceCollection de l'artiste, RomePuis par descendance au propriétaire actuelThis 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
Lot 54
NOVELLO FINOTTI (Né en 1939)Adam bronze36.8 x 36 x 30 cm. 14 1/2 x 14 3/16 x 11 13/16 in.Footnotes:ProvenanceCollection particulière, Etats-UnisVente : Bonhams, Los Angeles, 20th Century Decorative Arts, 7 octobre 2013, lot 1197Collection particulière, EuropeAcquis auprès de celle-ci par le propriétaire actuelThis 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
Lot 55
IGOR MITORAJ (1944-2014)Argos 1989 signé, numéroté 16/250 et avec le cachet du fondeur Tesconi, Pietrasantabronze sur base en pierresigned, numbered 16/250 and stamped with the foundry mark Tesconi, Pietrasantabronze with stone baseBronze : 22.4 x 25.5 x 11.3 cm. Bronze : 8 13/16 x 10 1/16 x 4 7/16 in. Avec la base : 40.4 x 25.5 x 11.3 cm.With the base : 15 7/8 x 10 1/16 x 4 7/16 in. Réalisé en 1989.Footnotes:Cette Å“uvre est accompagnée d'un certificat de la Galerie Artcurial.ProvenanceGalerie Artcurial, ParisAcquis auprès de celle-ci par le propriétaire actuel en 1989For further information on this lot please visit Bonhams.com
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