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Lot 1424
Three matching lamps coloured glass body resin bronze effect bases, H: 55 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133Condition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.
Lot 22
A Napoleon III style work tableJacaranda, rosewood, thorn bush, birds eye and dyed timbers Compartmented citronnier and birds eye lined interior with drawer, sliding tray and mirror Bronze mounts France, 19th century (restoration, signs of wear, evidence of woodworm, minor losses and faults)72x67x40 cm
Lot 4
A pair of Napoleon III Boulle style chairsEbonised and ebony veneered woodCut and pierced yellow metal inlaid decoration on a tortoiseshell groundTextile upholstery fixed with metal tacksGilt bronze applied elementsFrance, 19th / 20th century(signs of wear, minor losses and faults)103x48x46 cm
Lot 37
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."El somriure (Portrait of the dancer Isabel Rodríguez), 1914.Plaster.Mark of Godard Pere Fondeur, Paris.Signed.Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt.Size: 35 x 24 x 26 cm.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. His work can also be found in the Museu Comarcal de la Garrotxa in Olot and the Museu Nacional d'Art de Catalunya, among others.
Lot 154
After Ferdinand Preiss (German, 1882-1943) ‘Hoop Girl’, a bronze figure of a young girl holding a hoop behind her, signed with foundry seal, on a rectangular veined marble base, total 26.7cm high base 13cm wide, 7.2cm deepCondition report: Good condition, minor nibbles to the edge of the marble base.
Lot 162
After Bruno Zach (Ukrainian-Austrian, 1891-1935) a bronze figure of a dancer with her arms raised, on a rouge marble circular socle, signed with foundry seal, 65cm highCondition report: Scattered marks to the figure. Small crack running from the lifted foot up the leg. Small amount of pitting.
Lot 163
After Demétre Chiparus (Romanian, 1886-1947) an Art Deco style bronze figure of an exotic dancer with outstretched arms, on a rouge marble socle, signed with French foundry seal, 25.5cm wide 54.5cm highCondition report: Large chip to the corner of the marble base. Figure in a good condition, with only minor surface scratches.
Lot 167
A Brutalist bronze sculpture,1970s, modelled as an owl perched atop a horned skull, to the verso with a cast brass bell, with cast monogram 'VR' to the verso, raised on a black resin plinth, mounted with a cast white metal symbol of an encircled 't',43.5cm highCondition report: The plinth appearing to miss a plaque. With some minor white stains throughout. The bronze with patination throughout.
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349674 item(s)/page