Antonio Canova, 1757 Possagno – 1822 Venedig, nachDIE VATIKANISCHEN LÖWEN Höhe mit Sockel: 104 cm. Maße ohne Sockel: 64 x 130 x 40 cm. Trägt Signatur und Datierung „A. Canova 1810“. Auf dunkel patinierten und profilierten Sockeln.In Bronze gegossenes Paar Löwen, auf einer Plinthe liegen. Die beiden Tiere sind von Antonio Canova für das Grabmal Papst Clemens XIII in Sankt Peter gschaffen worden. Dieses zeigt links die Personifikation des Glaubens, rechts den Todesengel. Die zwei Löwen ruhen vor der Tumba, über welcher Papst Clemens vor seiner Tiara kniet und betet. Das Grabmal aus Marmor entstand 1795-1801, während die Datierung auf den vorliegenden Bronzen eine Werkstattwiederholung vermuten lässt.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004073) (13)Antonio Canova1757 Possagno – 1822 Venice, afterTHE VATICAN LIONS Height incl. base: 104 cm. Dimensions excl. base: 64 x 130 x 40 cm.Signed and dated “A. Canova 1810”.A pair of lions cast in bronze, reclining on a plinth. The two animals were created by Antonio Canova for the tomb of Pope Clement XIII in St Peter’s Basilica.Provenance:Prince André Poniatowski & Comtesse Constance de Louvencourt.
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Famille Verte-VaseHöhe inkl. Montierung: 40,5 cm. Bodenseitig mit unterglasurblauem Doppelring und Elektrifizierungslöchlein. China, Kangxi (1662-1722) und Frankreich, 1730/ 40.Auf einer Bronzemontierung im Louis XV-Stil der balustrierte Korpus mit höfischen Szenen in den Farben der Famille Verte mit fein gemalten Figuren, Wolkenbändern und Palastarchitektur. Eingezogene Schulter mit Trellismusterband sowie in ovalen Kartuschen liegenden Glückssymbolen in grüner Emailfarbe. Der Hals montiert mit Blattwerk in ziselierter Bronze. Ascheanflugsp. (1301818) (13)Famille verte vaseHeight incl. mounting: 40.5 cm.Underglaze blue double ring mark and holes for electric wiring on underside. China, Kangxi (1662-1722) and France, 1730/ 40.
François Laurent Rolard, 1842 – 1912NYMPHE Höhe: 120 cm. Im Guss auf dem Sockel signiert „F. Rolard“.Bronze, gegossen, brüniert. Auf naturalistisch wiedergegebenem Sockel, mit plastisch herausragendem Blattwerk, die sich emporstrebende nach vorne bewegende Figur einer Nymphe mit leicht gesenktem Kopf und hochgerichtetem Arm.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (130040108) (13)
Mathurin Moreau, 1822 Dijon – 1912 ParisALLEGORIE DER LIEBE Höhe: 84 cm.Auf ziseliertem Bronzesockel mit Kanneluren, die in braun patiniertem Ton gestaltete figürliche Bronze. Dicht nebeneinander stehende weibliche Figur, an ihrer Seite eine Amorfigur, ihr etwas in das Ohr flüsternd. Patina stellenweise berieben.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (1300401) (13)
Auguste Moreau, 1834 – 1917AURORA Höhe: 80 cm. Rechts unten signiert „Auguste Moreau“. Schauseitige Plakette mit Vermerk „AURORE/PAR AUG MOREAU/MEDAILLE D‘OR/A L‘EXPOSITION“.Bronze, gegossen, mittelbraun patiniert. Darstellung einer weiblichen allegorischen Figur auf einer Halbkugel stehend mit stilisierten plastischen Wolken und einem wehenden Velum, sie umspielend.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004063) (13)
Antonin Mercié, 1845 – 1916GLORIA VICTISHöhe: 134 cm. Auf dem Sockel signiert.Bronze, gegossen und dunkel patiniert. Die Gruppe glorifiziert die gefallenen Soldaten im französisch-deutschen Krieg von 1870 und entstand 1871 zum ersten Mal. Abgüsse der beliebten Skulptur befinden sich etwa in der National Gallery of Art in Washington D.C. oder der Ny Carlsberg Glyptotek Copenhagen, im Petit Palais Paris und auf dem Place Jean Moulin im Bordeaux.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (130009151) (13)Antonin Mercié, 1845 – 1916GLORIA VICTIS Height: 134 cm.Signed on base. Bronze; cast and with dark patina.Provenance:Prince André Poniatowski & Comtesse Constance de Louvencourt.
SäuleHöhe: 132 cm. Frankreich, 19. JahrhundertGebildet aus glasiertem und mit Goldschlicker bemaltem Porzellan, ziselierter vergoldeter Bronze und einer Deckplatte in rot-weiß gesprenkeltem Marmor. Gestufter quadratischer Unterbau mit zylindrischer leicht konisch zulaufender Säule in kobaltblauem gefasstem Porzellan mit radial absteigender Goldschlickermalerei, vegetabile und Rocaillebänder zeigend. Das Porzellan vermutlich von Sèvres.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004079) (13)
Paar figürliche Cloisonné-VasenHöhe: 17 cm. Frankreich, zweite Hälfte 19. Jahrhundert. Kombinationsleuchter aus Onyx, vergoldeter Bronze und Emailarbeit. Über geschweiftem Sockel Onyxscheibe. Auf dieser ein vergoldeter Putto eine Amphore haltend. Diese und der Sockel mit eingelegtem Email in Cloisonné-Technik mit Instrumenten in Kartuschen unter Louis XVI-Schleifen.Provenienz: Baronne de la Bastide. (13004034) (13)
Tischlampe im Louis XIV-StilHöhe: 58,5 cm. Frankreich, 19./ 20. Jahrhundert. Bronze, gegossen, ziseliert und vergoldet. Hoher runder Standring mit Zungenfries und Lambrequinprofilen, einziehende Kannelure. Polygonaler Balusterschaft mit Nereidenhermen und bekrönendem Zapfenknauf über Baluster. Ehemals elektrifiziert.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004055) (13)
Albert-Ernest Carrier-Belleuse, 1824 Anizy-le-Chateau, Dept. Aisne – 1887 SèvresPAAR SEHR GROßE KANDELABERHöhe inkl. der Holzsockel: 217 cm.Auf den Sockeln signiert „A. Carrier“ sowie mit Gießerangabe „ANC. MON COLIN EDITEUR – FONDEUR PARIS“. Paris, spätes 19. Jahrhundert.Bronze, gegossen, patiniert. Auf runder Basis stehende, vollfigurig dargestellte, in antikisierender Kleidung gewandete weibliche Figuren, jeweils mit erhobenem Arm. In der Hand jeweils eine Halterung für die im Empire-Stil ausgebildete Vereinigung von fünf Brennstellen, welche in Metall gegossen und ziseliert sind. Jeweils im Empire-Stil mit vegetabilen Voluten und Brennstellen. Elektrifiziert. Diese beiden allegorischen Figuren stellen einmal „Tag“ und einmal „Nacht“ dar und sind als Pendants zu denken. Patina stellenweise minimal berieben. Auf zwei separaten holzgeschnitzten und cremefarben gefassten Holzsockeln mit Profilrillendekor.Carrier-Belleuse wurde von Napoleon III für zahlreiche Projekte während des Neuaufbaus von Paris von 1851-1870 herangezogen. Einer seiner bekanntesten Studenten war Auguste Rodin (1840-1917). (1301047) (1) (13) Albert-Ernest Carrier-Belleuse, 1824 Anizy-le-Chateau, Dept. Aisne – 1887 SèvresA PAIR OF LARGE CANDELABRAsHeight incl. wood base: 217 cm.Signed “A. Carrier“ on bases and foundry mark “ANC MON COLIN EDITEUR – FONDEUR PARIS“.Paris, late 19th century.Bronze; cast and patinated. Electrified. These two allegorical figures depict “Day“ and “Night” and are created as counterparts. Patina slightly rubbed in places. Mounted on two separate carved cream-coloured wooden bases with grooved moulded frame.
Ruhender Windhund11,5 x 28 x 12,6 cm. Signiert „GAIRARD“. Frankreich, zweite Hälfte 19. Jahrhundert. Bronze, gegossen, schokoladebraun patiniert. Oblonge Form mit aufliegender Figur eines nach rechts geneigten Windhundes.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (1300417) (13)
Imposante KamingarniturHöhe der Uhr: 70 cm. Breite: 48 cm. Höhe der Kandelaber: 79 cm. Auf der Sockelplatte signiert „A. Carrier“ (Albert-Ernest Carrier-Belleuse). Zifferblatt signierte „Auguste Lemaire“. Frankreich, zweite Hälfte 19. Jahrhundert. Funktionen: Geschwärzte Zeiger für Stunden und Minuten, Schlag auf Glocke zur vollen und zur halben Stunde. Gehäuse: Auf gestelzten gedrückten Kugelfüßen der Korpus von Leuchtern und der Uhr in Marbre Rouge Griotte mit aufstehender Figurengruppe in versilberter Bronze bzw. mit schlankem klassizistischem Vasenkorpus mit gekanteten Handhaben, Festons und Lanzettblattfries, darüber mehrarmiger Aufbau mit überhöhender Brennstelle. Zifferblatt: Weiß emaillierter Zifferblattring mit schwarzen römischen Stunden, arabischen Minuten und Stabindizes. Zentrale Kartusche mit Aufzugslöchlein über der IIII und der VIII. Nicht auf Funktionsfähigkeit geprüft. Kein Schlüssel vorhanden. Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004088) (13)
Barbedienne-Bonbonière15 x 17 x 17 cm. Bodenseitig signiert „F. Barbedienne“ (Ferdinand Barbedienne, 1810 - 1892). Frankreich, zweite Hälfte 19. Jahrhundert. Bronze, gegossen, vergoldet, emailliert. Vier gotisch anmutende Greifenbeine mit plastischem Rankenwerk, zwischen ihnen eine runde Kuppa. Diese und der Steckdeckel mit reicher symmetrischer Rankenornamentik in Cloisonné-Email.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004114) (13)
Bedeutende Deckelkassette des HistorismusHöhe: 24 cm. Breite: 25 cm. Tiefe: 17 cm. Wohl Frankreich, um 1880.In feuervergoldeter und brünierter Bronze. In dieser prachtvollen Gestaltung und Ausführung äußerst selten. Die farbliche Eleganz zeigt sich im Zusammenspiel von Gold und Braun. Der Aufbau nach höchst qualitätvollem Entwurf. Die Reliefszenen thematisieren eine friedliche Begegnung zweier Heerführer nach einer Schlacht. Ein Rechteckkasten wird von einem reich dekorierten Sockel getragen, gebildet aus Faszienbändern, umzogen von Schleifen, die an den Ecken zu Voluten ausbilden, mittig jeweils ein Maskaron. An den nischenförmig leicht eingezogenen Ecken Figürchen geharnischter Landsknechte. An den Seiten bewegliche Tragehenkel in Vergoldung. Der hohe Deckel setzt mit großer Hohlkehle an, darüber ein gewölbter Dachabschluss, zu dem sich seitlich Drachenfiguren hochziehen, die mit den Mäulern die Achse des beweglichen Henkels mit Helmzier halten. Die von goldenen Bändern, Perlstab und unterschiedlich gestalteten Einfassungen gerahmten Felder sind lederfarben brüniert: an der Front zwei Reliefs mit Darstellung zweier sich begrüßender Heerführer zu Pferde, an der Rückseite eine Schlachtenszene, die wohl den friedlichen Gesten der Reiter vorausgegangen scheint. Somit ist hier ein deutlicher Hinweis auf die Thematik von Krieg und Frieden gegeben. Auf dem Deckel zwei Rundmedaillons mit Herrscherbildnissen. Im Inneren Samtauskleidung. An der Front Schlüsselbeschlag, Schlüssel vorhanden. A.R. (1301273) (11)Important lidded Historicism cassetteHeight: 24 cm. Width: 25 cm. Depth: 17 cm.Probably France, ca. 1880.Fire-gilt and burnished bronze. Very rare in its magnificent design and execution. Its elegance in terms of colours can be seen in the combination of gold and brown. The composition is based on an exquisite design.
Jean-Louis Grégoire, 1840 – 1890DER LIEBESBRIEF Höhe: 68 cm. Signiert auf der Plinthe „J. Gregoire“. Links an der Seite eine Gießermarke: Raingo Fres.Bronze, gegossen, dunkel patiniert. Auf runder natürlich gestalteter Basis mit daraufliegendem Brief die zwei nach vorne gerichteten weiblichen Gestalten, von denen eine einen plastisch gestalteten Blumenkorb mit darin befindlichen Rosen hält. Die Bronze thematisiert vermutlich das Überbringen eines geheimen Briefes.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004069) (13)
Bronzefigur der liegenden AriadneHöhe: 34 cm. Länge: 51 cm. Tiefe: 22 cm. Frankreich, 18./ 19. Jahrhundert.Bronzeguss, schwarze Lackpatina, auf grauer Gußstein-Sockelplatte über Spindelfüßen, mit umlaufendem vergoldetem Ornamentfries. Die Frauenfigur der griechischen Mythologie liegt auf einem Kissenlager mit erhöhtem Polster, die Beine übereinandergelegt, den Kopf in die Hand gestützt, den rechten Arm über den Kopf gelegt. Ariadne war der Sage nach die Tochter des kretischen Königs Minos, die Perseus half, den Minotauros zu besiegen. Nach dem Schriftsteller Hesiod wurde sie am Strand der Insel Naxos verlassen und schlafend aufgefunden. Dieser Aspekt wurde schon in der griechischen Bildwelt thematisiert. Die Figur ist eine verkleinerte Kopie der römischen Marmorfigur, die sich in den Vatikanischen Museen befindet. Sie wurde von Papst Julius II 1512 für den Cortile delle Statue im Belvedere erworben. Die römische Skulptur geht auf ein hellenistisches Original zurück, geschaffen in der Pergamon-Bildhauerschule des 2. Jahrhunderts v. Chr. A.R. (12718114) (11)Bronze sculpture of reclining AriadneHeight: 34 cm.Length: 51 cm.Depth: 22 cm.France, 18th/ 19th century.Bronze casting with black lacquer patina and grey cast stone base plate on spindle feet with revolving gilt ornamental frieze. The sculpture is a smaller copy after a Roman marble sculpture held at The Vatican Museums.
Paar klassizistische Biskuitporzellanfiguren als KerzenhalterHöhe der Figuren mit den Tüllen: 53,5 cm. Gesamthöhe mit Holzsockeln: 85,5 cm. Sockelseitenlänge: 20 cm. Frankreich, wohl Sèvres, Epoche Louis XVI.Die Bronzen feuervergoldet. Die beiden Figuren als Gegenstücke gearbeitet: ein Jüngling nach rechts gewandt mit einem Putto zur Seite, an einem Baumstamm sowie junges Mädchen mit hochgebundenem lockigem Haar, ebenfalls begleitet von einem Putto an ihrer rechten Seite. Die beiden Figuren in Einheit mit einem kannelierten Säulenstumpf in Biskuitporzellan gearbeitet. Die beiden Gestalten tragen je eine schlanke Vase, aus der eine vergoldete Kerzentülle in Bronze hervorsteigt, über einem Akanthusblattbündel. Um den Sockel umziehender vergoldeter Bronzeprofilring. Die beiden Figuren auf zugehörigen quadratischen Holzsockeln in Mahagoniholz mit an drei Seiten, vertieft eingelegtem vergoldetem Bronzedekor: klassizistische Palmetten und Akanthusknospen im Rapport mit sichelförmigen Verbindungen. Die Figuren von hoher Qualität und in tadelloser Erhaltung. (1271812) (11)A pair of classical bisque porcelain figures as candlesticksHeight of figures with holders: 53.5 cm.Total height incl. wooden bases: 85.5 cm.Length of base sides: 20 cm.France, probably Sèvres, Louis XVI era.Fire-gilt bronzes. Both figures created as a matching pair: a young boy turned to the right with a putto by a tree trunk and a young girl, her curly hair tied up also accompanied by a putto to her right.
Frederick E. McWilliam HRUA RA (1909 - 1992)Study for 'Princess Macha of the Golden Hair of the House of UlsterResin, 19.5 x 29 x 49cm high (7¾ x 11½ x 19¼'')Raised on black marble base, 23 x 17 x 4cm (9 x 6¾ x 1½'')Provenance: With James Wray Gallery, Belfast, where purchased by the current owner.In 1957 F. E. McWilliam was commissioned to make a bronze sculpture of Princess Macha to stand outside Britain's first National Health Hospital, situated at Altnagelvin a few miles outside Derry, which was opened to the public in February 1960.The details of the subject, the Celtic goddess Macha, were stipulated by the Northern Ireland Hospital's Authority. Macha was reputed to have founded the first hospital in Ireland at Eamhain Mhacha in 300BC. A dove, a symbol of St Colmcille who built Derry's first infirmary at his monastery in the 6th century, sits on one of her hands and of course also symbolises Peace. At first the piece caused a public outcry but it later became a talisman for the hospital, greatly loved by patients, visitors and staff alike. The hospital was designed by the architect Eugene Rosenberg who was later to become a close friend and patron of McWilliam.McWilliam produced numerous studies and maquettes in preparation for the full size version and the present lot is one such resin maquette.
Rory Breslin (b.1963)Artemision Horse StudyBronze, 71cm high x 74cm long x 28cm wide (28 x 29 x 11")Edition 3/3This sculpture is a study of the horse's head in one of the most popular and important displays in the National Archaeological Museum in Athens, the bronze Horse and Jockey Group. The group was found in a shipwreck off Cape Artemision, in North Euboea, which was discovered in 1926. The first parts of the equestrian statue were recovered in 1928, with more pieces found in 1936 and possibly 1937. The statue was reassembled, and after restoration went on display at the Museum in 1972.The Horse and Jockey Group is special in being one of the few original large-scale bronzes securely dated to the Hellenistic period. It is approximately lifesize in scale and consists of a horse in mid- gallop, on which is seated a youthful jockey, who looks back over his shoulder. The Horse and Jockey group is unusual in combining an athletic sculpture with an animal. The unknown sculptor of this masterpiece has captured the excitement and vitality of a horserace in mid-action. Some scholars have previously dated the group from the late fourth century B.C. to the first century B.C. The statues have been attributed previously to various sculptors, including Kalamis, Lysippos and the Pergamene school.
Harland Miller (British 1964-), 'Fuck Art Let's Dance & Fuck Dancing Let's Fuck (Diptych)', 2011, two screenprints in colours on Somerset paper, signed, dated, and numbered from an edition of 12 HCs in pencil aside from the main edition of 50, inscribed 'Going For Bronze Baby' in pencil, published by White Cube; 86 x 72.5cm inc frame each (2) ARR
Élisabeth Sonrel (French, 1874-1953)A portrait of a hooded lady signed 'Elisabeth Sonrel' (lower right)charcoal, pastel and bodycolour32.3 x 23.5cm (12 3/4 x 9 1/4in).Footnotes:Élisabeth Sonrel grew up in Tours, France, where her father was an amateur artist. It is very likely that it was under his tutelage that Sonrel first began to develop her skills as an artist. After moving to Paris in 1891, Sonrel undertook formal training under Jules Lefebvre (1836–1911) at the private art school, Académie Julien. At this time, although they received the same training, women were taught in separate classes from their male counterparts. Sonrel's decision to study privately is likely in no small part because the public art schools, most notably the École des Beaux-Arts, did not allow women to attend until 1897.At only eighteen, Sonrel submitted her graduation work from the Académie, and this can be seen at the Musée des Beaux-Arts, Tours. Soon after, in 1893, she became one of only a few women artists selected to exhibit at the famed Salon des Artistes Français in Paris. She would continue to exhibit at the Salon until late in her career, with her last exhibited work there being shown in 1939.The quality of Sonrel's work, and the respect and recognition she had from her peers, is highlighted by her being awarded the 1895 Henri Lehmann prize given by the Académie des Beaux-Arts. This prize was awarded every three years to an artist under the age of twenty-five in recognition of academic excellence. She was awarded the prize for her work The Sleep of the Virgin which was subsequently acquired by Felix Faure, the French president at the time, and the work would go on to be exhibited at the 1900 World Fair held in Paris where it was awarded a bronze prize.Sonrel enjoyed a successful career in the arts and was best known for her poster designs in the Art Nouveau style. However, given the large number that were produced throughout her career, it was her watercolours of meditative female sitters, often from medieval legend, in which we can see her real passion. In these, one can see the influence of early Renaissance painters and the work of the Pre-Raphaelite Brotherhood.In 2021 the Ashmolean Museum, Oxford, acquired a work by Sonrel with funds from the Art Fund. Underappreciated since her death, this acquisition highlights the increased recognition and profile of the artist in recent years.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
KommodeParis, Stempel wohl Roger Vandercruse Lacroix (1728-1799), um 1770 Furnier Rosenholz, Amarant u. a. Hölzer. Bechläge Bronze, vergoldet. Auf konischen Beinen in Fußschuhen. Rechteckkorpus mit Mittelrisalit und gerundet vorgezogenen Vorderstollen. Zwei durchgehende Schübe, drei Friesschubladen. Rautenparketterie. Fein ziselierter Beschlagdekor mit Medailloneinfassungen, Rosetten und Akanthusarabesken. Rest., die Seiten jew. mit Schwundriss. Originale Marmorplatte fehlt. 93 x 149 x 55 cm. Bitte beachten Sie: Die abgebildete Platte gehört NICHT zu lot 1204, sondern wird separat als lot 1205 angeboten!Dabei: Untersuchungsbericht Dipl.-Chem. Elisabeth Kühn, München, 24.06.1986. Eikett "Herrschaft Carlsruhe O/S Nr. 223". Auf Vorderstollen verschlagene Stempel "JME" und "R. LACROIX" (?). Auf Rückwand hs. Bez. "...IIIIII de SAR .../Montbeliard". Auf Unterseite Etikettreste "Die ... Marmor/ ... im Besitz/ (Kö)nigin Marie A(ntoinette)/(F)rankreich .../Herzogin Do(rothea)/(Herzog) Friedrich Eugen/Verzeichnis (?) .../ und nebst Meubles Württ...". "... Du Roy/Rue de la Monnaye à Pa(ris)" Die Aufschriften weisen darauf hin, dass die Kommode sich wohl einst im Besitz von Herzog Friedrich Eugen von Württemberg (1732-1797) und Herzogin Friederike Sophie Dorothea (1755-1793) befand: Das Herzogspaar lebte zwischen 1769 und 1792 in der württembergischen Enklave Mömpelgard (frz. Montbéliard), wo Friedrich Eugen seit 1786 die Statthalterschaft innehatte. Eine Provenienz aus dem Besitz der französischen Königin Marie Antoinette ließ sich bislang nicht verifizieren. Einen Ankauf der Kommode aus Paris belegt zumindest die Nennung der "Rue de la Monnaye", in der in der zweiten Hälfte des 18. Jhs. u.a. die Marchands Merciers Lazare Duvaux und Darnault ansässig waren, die auch den französischen Hof mit Luxusgütern belieferten. Roger Vandercruse Lacroix war mit den wichtigsten Pariser Ebenistenfamilien seiner Zeit verwandt, darunter Jean-François Oeben, Jean-Henri Riesener und Simon Oeben. Nach Erlangung der Meisterwürde im Jahr 1755 übernahm er die väterliche Werkstatt und war bis zur Revolution einer der einflussreichsten Ebenisten in Paris. Er belieferte bis 1774 den Garde-Meuble de la Couronne wie auch später u.a. den Herzog d'Orléans und Madame du Barry.
Reiterstandbild Erzherzog CarlEnde 19. Jh. Bronze, schwarz patiniert. Marmorsockel mit Bronzemontierung. H. (mit Sockel) 22 cm. Dabei: Adler mit ausgestreckten Schwingen, Bronze. H. 10 cm. Reduktion des berühmten Erzherzog-Carl-Denkmals von Anton Dominik Fernkorn für Feldmarschall Erzherzog Carl (Sieger über Napoleon in der Schlacht bei Aspern am 21./22. Mai 1809), errichtet 1853-1859.
KaminuhrFrankreich, 19. Jh. Vergoldete Bronze, eingesetzte Porzellanplaketten in der Art von Sèvres. Auf querovalem Sockel mit plastischem Dekor mit Putten, Maskarons und Ornamenten das runde Uhrgehäuse mit Schleifengehänge als Aufsatz. Emailzifferblatt mit hellblauen römischen Ziffern. Pendel mit Fadenaufhängung. Schlagwerk auf Glocke. Schlüssel. Besch. 25 x 30 x 14 cm.
Tischdekoration, 14-teiligWerner & Mieth, Berlin, um 1800 Flussglas, Dekor mit polychromen Blumengirlanden. Schwarzlotmalerei. Bronzemontierung vergoldet. Alabasterplinthe. Amphorenvase mit Schlangenhenkel. Neun Fußschalen (eine besch.), zwei Deckelschalen (besch.). H. der Vase 40 cm. Dabei: Steckaufsätze mit Ketten, Bronze vergoldet. Nicht zugehörig. Fein ziselierte Bronzemontierungen in Gestalt von Schlangen, Bocksbeinen und Satyrmasken. Vgl. Möller, Frank C. und Sabine, 18 Objekte um 1800. Hamburg 2014, S. 68 (Flussglasvase mit Schlangenhenkeln, K. F. Schinkel zugeschrieben, um 1810).
Weinendes KleinkindAndrey Nikolov (1878-1959 Sofia), um 1930 Naturalistischer Porträtkopf. Bronze, braun patiniert. Am Sockel bez. A. NICOLOFF. Klebeetikett "Privat-Eigentum Hzgin N. v. Württemberg Nr. 149". H. 15,5 cm cm. Andrey Nikolov gehört zu den bedeutenden bulgarischen Bildhauern der ersten Hälfte des 20. Jahrhunderts. In der kleinen Porträtbüste zeigen sich der Einfluss Rodins, dessen Werke Nikolov bei einem Parisaufenthalt kennenlernte. Vermutlich war die Büste von Prinzessin Nadejda von Bulgarien, Gemahlin Herzog Albrecht Eugens von Württemberg, in Auftrag gegeben worden und stellt eines ihrer fünf, zwischen 1930 und 1937 geborenen Kinder dar.
Porträtrelief König Wilhelm II. (1848 - 1921)1916 Ludwig Habich (1872 Darmstadt - 1949 Jugenheim), 1916 Rechteckig, das Porträt im Profil nach rechts. Bronze. Monogr. LH. 41 x 21 cm. Beschriftung "WILHELM II./König von/Württemberg/zum 25jährigen/Regierungs-/Jubilaeum/6. Oct. 1916". Dabei Bronzemedaille auf Albrecht Herzog von Württemberg, monogr. Ludwig Habich: Vs Porträt im Profil mit Umschrift "ALBRECHT HERZOG VON WÜRTTEMBERG", dat. 1915. Rs: Hirsch und Löwe mit Beischrift "FURCHTLOS UND TREW".
Vier Teile Untersätze für Girandolen bzw. FußgestelleBerlin (?) bzw. Werner & Mieth, Berlin um 1800 Alabaster und Bronze, vergoldet. Venus und Amor über gestuften Rechtecksockeln mit Rosettendekor - Fußgestelle in Schlangengestalt. Leuchteraufsätze bzw. Schaleneinsätze fehlen. H. 27,5 cm bzw. 18,5 cm cm. Vgl. Möller, Frank C. und Sabine, 18 Objekte um 1800. Hamburg 2014, Abb. S. 66 (Flussglasschale auf Schlangenfuß, Werner & Mieth).
Ein Paar Kandelaber, sechsflammigFrankreich (Paris), um 1840 Bronze, vergoldet. Über dreiseitigem Untersatz Balusterschaft in Form von Säulenbündeln auf Volutenfüßchen. Volutenarme. H. 78,5 cm. Hängeetiketten "Herrschaft Carlsruhe O/S Nr. 230a" bzw. "Nr. 230b". In der Art von Pierre-Philippe Thomire: vgl. Auktion Christie's London, Robert de Balkany & the Cote d'Azur, 23. März 2017, lot 553.
Paar Leuchter mit NymphenfigurenParis, um 1775 Bronze, vergoldet. Die blumenbekränzten Mädchen über Rundsockel mit Akanthusblattdekor stehend, mit beiden einen Blumenzweig hinter dem Rücken haltend. Leuchtertülle in Blütenform. Sockel min. verbeult, Vergoldung etwas berieben. H. 42 cm. Hohe Qualität der Oberflächenbearbeitung und Ziselierung. Eine bis auf Sockel und Leuchteraufsatz identische Nymphe befindet sich als Teil eines Kandelaberpaars im Königlichen Schloss Warschau, abgeb. bei Ottomeyer, Hans/Pröschel, Peter, Vergoldete Bronzen. Bd. I. München 1986, Abb. 4.7.4. und 5. (dort Vergleich mit Entwurf des fondeur-ciseleurs Jean-Francois Forty).
Gothic Torchero, 14th century.Bronze, polychromed in black.Measurements: 165 x 49 x 54 cm.Torch rack in iron forging, from the Gothic period. On an open foot on a tripod, there is a shaft partially decorated with incised elements forming synthetic ornaments. The torch area has a cylindrical base to hold the spilled wax, and an upper part with a serrated profile, the two bodies joined together with iron fittings that form decorative loops. This type of candlestick (generally for churches), with a tripod base and a tall spike, from which a point for the candle is inserted, and a cylinder, was the most common in the 14th and 15th centuries.
Romanesque Virgin, 11th century.Bronze.Measurements: 6 x 2 cm.In the Romanesque period, the majestic representation of the enthroned Virgin continued to prevail in Marian iconography. This bronze Virgin shows the formal synthetism characteristic of the period. In this case, the piece was intended to be adhered to a wooden support.
Romanesque Christ, 13th century.Bronze.Measurements: 7,5 x 2 cm (Christ); 14 x 4 cm (methacrylate).Figure of Christ in bronze. The anatomy, as was usual in the Romanesque, lacks naturalistic pretensions; the body, extremely synthetic, has been reduced to the elementary, representing concise elements detailed by means of incision, such as the cloth of purity. This maintains a considerable length, which later, in the Gothic period, would be considerably reduced.Spanish Romanesque sculpture pursued mainly didactic aims, and its images were conceived as a visual narrative, which always had to be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and works on the basis of symbols and conventions accepted by all.
15th-century Gothic mortar.Bronze.Measurements: 9 x 12 cm (diameter).This Spanish mortar, dating from the 15th century, is made entirely of bronze, a resistant and stable material, very appropriate for the manufacture of this type of utensil. It is bell-shaped, narrower towards the mouth, with prominent ribs.Ancient recipe books contain a large number of recipes based on the use of the mortar, a tool which, although rarely used today, was so varied in its use in the past that every kitchen had a wide variety of them, from large ones for pounding meat and vegetables to smaller ones for grinding spices. Even in antiquity, there were large mortars made of bronze for crushing and mixing marble or lime, which were used to make construction binders or plaster, such as stucco. The Roman poet Juvenal mentioned it in articles for the preparation of drugs, reflecting the early use of this instrument in apothecaries. The antiquity of mortars is also well documented in some works of ancient literature, such as the Egyptian Ebers Papyrus, dating from 1550 BC, which is considered one of the oldest documents on medicine in Ancient Egypt. It is also mentioned in the Old Testament. Good mortars must be heavy or made of strong materials to withstand prolonged pounding and thus reduce the substances to powder. The mortar must not be brittle, as it would break during the pulverising operation. The material must also be cohesive so that its surface does not wear away and mix with the ingredients.
Romanesque Christ. Spain, 12th-13th century.Bronze.Measurements: 16,5 x 14 cm .Round sculpture with a hollow at the back, which represents Christ crucified, with the wound in his side, his head fallen on his chest and his eyes open. Formally, the anatomy of Christ stands out: as was usual in the Romanesque style, it lacks naturalistic pretensions; its anatomy is extremely synthetic, reduced to the elementary, representing concise elements detailed by incision, such as the hair or the cloth of purity.During the Romanesque period, sculpture was most often conceived as part of the architecture, as in the Gothic period. However, there were also examples of free-standing sculpture, the most common themes being the Crucified Christ and the Virgin and Child (the pantheon of saints was still small). There were two models, the "colobium" and the "perizonium". The first is a Christ nailed to the cross, still alive, with a talar robe and four nails. It is a rare model, as it was only made in certain European territories (in Spain, only in the Crown of Aragon, especially in Catalonia, but always coexisting with the second model). The "perizonium" is also a Christ on the cross with four nails, dead or alive, but dressed in a cloth of purity. The piece presented here belongs to this second group. During the Romanesque period, four-nailed Christs were the norm, but this one has only three nails, a characteristic possibly due to the influence of external sources. The perizonium was the model that persisted, as the "colobium" was only made during the Romanesque period. They were also often polychrome pieces, whether worked in wood, metal, ivory or stone. Such pieces were intended to decorate the interiors of churches, mainly the chapel area, as they were not yet decorated with canvases.Romanesque sculpture pursued mainly didactic aims, and its images were conceived as a visual narrative, which should always be clearly legible. At this time, prior to the search for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.
A PAIR OF FRENCH BRONZE, ORMOLU AND ROUGE GRIOTTE MARBLE CANDELABRAIN THE MANNER OF CLODION AND LOUIS FELIX DE LA RUE, 19TH CENTURYeach 43cm high, 24cm wide, the bases 14.5cm wideCondition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use. Both have previously been fitted for electricity with drilled holes to reverse of nozzles. Nozzles pans with pitting and wear- gilding throughout with dirt and some pitting- notably to reverse of each. Nozzle/branches a little loose. Marble bases with some wear and damages to edges. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE FIGURES OF A CHERUB AND A GIRLIN THE MANNER OF CLODION, 19TH CENTURYEach on a gilt metal mounted tarquin marble plintheach 34cm high, the bases 16cm wideCondition Report: There is some wear consistent with age and use. Mild rubbing to extremitiesSmall repair to chip to plinth base of archer figure- the other with loose gilt mount- some sticky residue- and small wear to top of neck/shoulders of eachPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer
† A PAIR OF GILT BRONZE THREE-LIGHT CANDELABRA IN LOUIS XVI STYLE, LATE 19TH CENTURY Each with a circular, tapered, fluted support on hairy paw feet, the curved candle branches cast with acanthus leaves and linked by swags cast with flowerheads and foliage, the whole surmounted by a flaming brûle-parfum cast with drapery swags, on a tripod baseeach 49.5cm high
A REGENCY BRONZE DOG CARD HOLDERIN THE MANNER OF THOMAS WEEKS, EARLY 19TH CENTURY The dog realistically modelled, with articulated "card holder" jaw, white marble base18cm high, the base 16.6cm wideIn 1797 Thomas Weeks established his renowned museum of 'mechanical curiosities' at Nos. 3 & 4 Tichbourne Street, London and specialised in the sale of fine novelty clocks, bronzes and paperweights such as this.Condition Report: There are some very minor marks, and abrasions consistent with age and use. The top and back slightly paler in colour- possibly from handling and dusting. Jaw mechanism strong. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF FRENCH BRONZE AND GILT METAL THREE-LIGHT FIGURAL CANDELABRA IN THE EMPIRE MANNER, POSSIBLY PALAIS ROYALE, CIRCA 1860-80 Each with central winged figure of Nike supporting candleholders, engine turn decorated cylindrical baseeach 50.5cm high, the bases 10.5cm wideCondition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use.Gilding slightly worn and pitted. 1 wing with repair- 1 candle branch with repair around junction point with laurel wreath Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A PAIR OF BRONZE AND GILT METAL THREE-LIGHT CANDELABRA FRENCH LATE 19TH CENTURY Each with putto stem, clutching a wreath in the Louis XVI style, variegated alabaster bases 59cm high, 29cm wide, the bases 14cm wide Condition Report: Bothe with rubbing and some loss to gilded surface and some wear to extremities, the bases- which look to be variegated alabaster- have filling and repairs. Small hole beneath each putto suggesting there may have been further ornamentation- now absent- apparently unmarkedCondition Report Disclaimer
A PAIR OF ORMOLU, BRONZE AND GLASS LAMPS FRANCO-AUSTRIAN, 19TH CENTURY Variances in cutting to the reservoirs, each with wick adjuster marked "Sonnenbrenner R Ditmar Wien", now fitted as lamps with shadeseach 81cm high overall including fitmentsCondition Report: There is some wear consistent with age and use.Height to underside of reservoirs is 52cmBoth have vacant hole to the stem suggesting there may have been originally an additional mount.One standing slightly off centre/leaning from the vertical.Old sticky residue from labelsSome wear to glass- shades showing age and wearPlease see the additional photographs as a visual reference of condition and which form part of this condition report. Condition Report Disclaimer
AFTER ALFRED DUBUCAND (FRENCH, 1828-1894), A FRENCH BRONZE GROUP OF 'L' ANIER DU CAIRE' (A BOY AND DONKEY)LATE 19TH CENTURY The base inscribed 'A E DUBUCAND', foundry stamp to reverse EV 2816,21cm high, 18cm wide, 10cm deepAlfred Dubucand (1828-1924) studied under the animalier sculptor Barye and, following Barye's influence, produced realistic models of animals throughout his career. He made his debut at the Salon of 1867 and exhibited until 1883. Dubucand is renowned for his work depicting the people and animals of North Africa and the Middle East- as illustrated by this work.For a related bronze see Bonham's, London, Period Design, 9 June 2009, lot 43 (£3,000)Condition Report: There are very minor rubbing marks, consistent with age and use.Small spot stain to front of plinth, right stirrup missing, reins misshapen, some rubbing to rear around saddle edges, his stick is duller in colour suggesting it has either been repositioned- or replaced. Retains some red colour to his hat Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders Condition Report Disclaimer
Y A FRENCH ROSEWOOD AND PARQUETRY OCCASIONAL TABLEBY FRANCOIS LINKE (1855-1946), LATE 19TH/EARLY 20TH CENTURYWith a frieze drawer, the gilt bronze edge moulding engraved 'F. Linke' 73.5cm high, 56cm wide, 33cm deepBorn in Bohemia, Linke arrived in Paris in 1875. In 1900 The Art Journal reported 'The work of Linke ...was an example of ... seeing inspiration amongst the classic examples of Louis XV and XVI (furniture) without in any great sense copying these great works'. From 1900 to the outbreak of the Second World War La Maison Linke became a pre-eminent furniture house in Paris, epitomising the spirit of the 'Belle Epoque'.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. The varnished surface with various losses and scuffs resulting in some lighter coloured areas - see images. Key present and operates lock. Small amounts of filler used in places. The mounts with the expected wear and dark deposits. Some minor old veneer repairs - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
EDITH BARRETTO STEVENS PARSONS (AMERICAN, 1878-1956), A PAIR OF BRONZE MODELS OF TERRIERS MID/EARLY 20TH CENTURY The Scottish terriers depicted in playful mood, one ready to play, the other chasing its tail, both with cast signature and Gorham Foundry markeach 9.5cm high, the bases 18cm wideCondition Report: There are some minor marks, scratches, knocks, and abrasions consistent with age and use. Both with greenish verdigris and dirt build up to crevices of fur. Bases are plaster filled Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
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