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Lot 125
A large and heavy 19th century French well-patinated bronze casting of a young Bacchus: in his left hand he holds high a libation cup and in his right a wine cup; two attendant cherubs behind him, one squeezing a bunch of grapes into the wine cup; apparently unsigned; raised upon moulded white-marble oval plinth base (the bronze 34cm wide x 39cm highest)
Lot 126
A French Art Deco period, gilded and painted bronze showgirl figure; she wears a top hat and carries a mandolin under her right arm and stands upon a geometric multi-coloured marble and onyx base formed of protruding tablets upon a black marble or slate octagonal base (58.5cm high) Condition Report: In the Auctioneer's opinion the item is most definitely a period piece, the only ambiguity is if the hand and hands are ivory or 'ivorine'. Upon very close inspection under a loupe the face appears to definitely have an ivory type grain to it. The piece is probably from the mid 1930s. There is a small, not too deep 0.5cm chip away from the front LH return to the black octagonal base. There is some wear to the extremities of the sleeves and also to the back and top around the neck and certainly to the LH elbow, probably commensurate with cleaning. Some slight discolouration around the neck area. The piece has come as a private entry from a central London residence and appears to be in good original condition. No foundry mark visible.
Lot 133
Franz Xaver Bergmann (1861-1936) - an Austrian cold-painted bronze of a menacing open-mouthed crocodile; the central oval scaly lid opening to reveal a separate interior patinated bronze model of a crouching nude female figure, the underside with the Bergmann mark and also impressed Namgreb (20.5cm)Condition Report: In our opinion this item is pre 1936, probably early 20th century. The figure is a little rubbed in places with some of the finish away. The middle section /the 'lid' has several scratch marks to the paint on the underside, generally the piece is in good order with no breakage or restoration noted. Paintwork slightly away on the underside of the claws, inside the crocodile's mouth and the end of the tail - commensurate with age. In good condition overall.
Lot 142
A pair of French Empire period ormolu candlesticks (now as lamps); reeded stems above triform bases ornately cast with acanthus and terminating in paw-style feet. (32cm high excluding electrical fittings)Condition Report: The candlestick section is most likely made of bronze or ormulo (gilt bronze) with no wood involved.
Lot 148
A good pair of 19th century French patinated bronze figural table lamps; modelled as cherubs with cornucopia, the bases with 'Bronze Garanti au Titre - Paris' impressed marks and signed 'Pinédo' (Emile, 1840-1916), raised upon circular variegated red marble base and four small circular gilt-metal feet (39.5cm high)
Lot 148A
A Chinese archaistic patinated bronze vase of Hu form; the waisted neck above four ring handles and a band of taotie-masks, raised on spreading circular foot with a grid design to the underside, of good patination, probably Ming Dynasty or earlier (hole to bronze body just above foot) (26cm high)
Lot 29
Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today. In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear. This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.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 23
Ernest Gazan (French, 1895-1979)The water carrier signed 'Gazan' (to the base)bronze and marble 66 x 20cm (26 x 7 7/8in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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