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Lot 671
A FRENCH GILT BRONZE FLOOR STANDING LIGHTLate 19th CenturyWith lotus leaf clasped support and tripartite scroll base, later adapted for electricity, 133cm highCondition report: Tarnishing rubbing to the gilding and wear commensurate with use and age. Oil turning fitment below the later electrical fitment. Electrical wiring will need to be PAT tested prior to use.
Lot 212
A Japanese bronze jardiniere decorated with prunus shoots and birds, height 22cm, and a smaller Japanese bronze jardiniere decorated with two bands of flowers, seal mark applied to the underside of the base, height 14cm (2).Additional InformationBoth grubby throughout and both with a very dark patina to the bronze surface. Some general light scuffs and scratches but overall fair. The underside of the smaller jardiniere with applied seal mark with solder marks visible to both sides and around the join of the foot rim to the base of the jardiniere.
Lot 229
An 18th century Chinese Famille Rose armorial bowl, decorated with crests and mottoes and floral sprays in panelled decoration, diameter 26cm, together with a Chinese enamelled rectangular casket, width 19cm, also a Chinese yellow ground double gourd vase decorated with mythical animals in roundels, printed marks to the underside, height 31cm, a pair of bronze vases, four Chinese hardwood stands, etc, (13).Additional InformationThe double gourd vase is af, there has been a large break and old repair to the top rim, crazing to the body, the blue and white jar is missing it's cover, the largest stand with splits and losses, the Famille Rose armorial bowl with extensive restoration, the bronze vases with replacement bottoms.
Lot 230
A Chinese bronze mounted tortoise shell chopstick box with two bone chopsticks and a selection of other Eastern and European decorative items including a blue and white vase, a Dansk Designs Japan white metal seahorse, a carved alabaster scarab, four decorative metal boxes, a brass telephone timer, etc.
Lot 237
A late 19th/early 20th century Indian inlaid wood cube shaped box, decorated througout with mother of pearl, brass and copper geometric panels, with a glass lined interior, height 13cm, together with an Indian white metal and copper overlaid oval box, the lid decorated with an elephant and scrolls, width 14cm and a Japanese lacquered brass and marble stand (3).Additional InformationThe cube shaped box with losses to the inlaid detailing here and there througout. General age wear patina to the surface of the metalwork, generally grubby to the underside of the base and grubby to the interior. The oval box with minor patina but essentially ok. The gilt bronze stand with scratches to the top where a figure once stood and general age wear patina throughout.
Lot 238
JUDAICA; a pair of Jewish bronze vases, decorated with bands of floral motifs, triangular mark and script mark to the underside and shape number 589, height 12cm.Additional InformationGeneral age wear patina throughout giving it a slightly dulled appearance, the rim of one of the vases with two slight knocks, this vase also with a couple of shallow dents to the floral detailing and perhaps also to the edge of the foot rim.
Lot 245
A modern bronze figure of a kneeling Buddha, on scroll detail base, height 35cm, together with a smaller bronze figure similar, a cast bronze figure of Ganesha and a taller bronze figure of Ganesha, (4).Additional InformationAll with plaster or composition filled bases to make the figures heavier, these are all contemporary made to look older than they are, all with general aged appearance throughout.
Lot 250
A Himilayan bronze figure of Dakini, modelled with bell and foliate support, on lotus cushion base, height 41cm.Additional InformationTraces of red painted detailing here and there throughout. Some imperfections to the casting here and there and the figure is made in two sections with a join at the waistline. General age wear patina with some knocks and scratches to the surface throughout.
Lot 251
A Tibetan bronze censer and cover, the lid surmounted with a seated figure of a wrathful deity, the base with pierced circular detailing and three animal head mounts, on paw shaped feet, height 14cm.Additional InformationAge wear dark patina throughout, with some areas of gilt detailing. Some rubbing to the raised areas of the detailing here and there and general patina of light scratches and some knocks, but essentially fair. The lid does not fit flush into the base.
Lot 252
A Tibetan cast bronze prayer bell on wooden stand, the prayer bell cast with two figures and two stylised cartouches, with a crown top, the stand with crackled lacquered finish throughout, on four wooden ball feet, height 18.5cm, width 18cm.Additional InformationThe bell with general light age wear patina throughout of some small knocks, scratches and rubbing. There is a cast imperfection to the bell between two of the figures, it is also generally grubby and with rubbing to the raised areas. The swing stand with degraded lacquered finish throughout and general scuffs and marks.
Lot 619
N TELRIV; a cast bronze bust in the Art Nouveau style 'Salammbo', bears signature and foundry mark, height 27cm. (D)Additional InformationMinor scuffs to the base but good conditionThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 90
An early/mid-20th century Chinese crackle glaze blue and white temple jar and cover decorated with insects and birds within floral sprays, impressed seal mark to the underside, height 26cm, together with a Japanese bronze bottle vase, relief decorated with a koi carp, height 24cm.Additional InformationMinor knocks to the top rim of the bronze vase. Extensive crazing to the crackle glaze jar.
Lot 23
Two mounted horses head sculptures to include; Genesis fine arts 'Heredities' bronzed resin horses head on square base, overall 30cm high approx and another bronze horses head mounted on pale oak base with inscription 'The Tom Holt and Realty handicap steeplechase Newton Abbot', 21cm high approx. (2) (B.P. 21% + VAT) signature: Tim Potts
Lot 61
Sido and François TheveninTable, 1970s Gilt bronze, wrought iron, painted wood, glass. 59 cm high, 67.5 cm diameterRoundel impressed SH. 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 60
Sido and François TheveninArmchair, 1970sGilt bronze, wrought iron, leather. 79 x 64 x 57 cm Reverse impressed SH. 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 45
Anton van Wouw (South African, 1862-1945)The Mealipap Eater signed 'A. VAN WOUW/ S.A_Joh-burg'; inscribed 'FUSE-G.MASSA/ ROMA' bronze on marble base16.5 x 28 x 32cm (6 1/2 x 11 x 12 5/8in) including base.Footnotes:Widely acknowledged as the father of South African sculpture, Anton Van Wouw conceived of the current lot in 1907. The Mealipap Eater depicts a Shangaan man, a tribe who lived in southern Mozambique and in the Northern Transvaal or Limpopo province of South Africa. The name Shangaan was derived from the Zulu warrior Soshangane; the tribe had once been rulers of the Gaza Empire.Van Wouw shows his subject eating mealiepap from a traditional three-legged pot. The model is the same the artist used for another work from 1907, entitled Shangaan.Although his subject matter was inspired by his life and travels in Africa, Van Wouw cast his sculptures in Italy where he could be assured of a higher quality of casting and attention to detail. The current lot bears the mark of the Nisi foundry in Rome.The high quality of this cast brings to life the artist's delicate modeling on the face, hands and feet of the figure. Italian casts executed during Van Wouw's lifetime were traditionally mounted on a separate marble base, as seen in the present example. Later posthumous castings include an integral bronze base and the right hand of the boy holding a stick above the pot, rather than scraping food from it.For further information on this lot please visit Bonhams.com
Lot 143
Victoria (1837-1901), Penny, 1858/2 (Gouby, SNC 2010, pp.70-1; cf. BMC 1515; S 3948). Usual flaws through date numerals, virtually as struck, full original colour, an exceptional example £300-£400 --- Provenance: Bt Spink. As Michael Gouby observes, by 1858 and with an impending move to bronze coinage, there was an understandable desire by the Mint to utilise any old obverse dies, including those of 1852 (when no pennies bearing that date are believed to have been struck), 1853 (when the mintage was subcontracted to Heaton in Birmingham) and 1857
Lot 91
λ Henry Moore (British 1898-1986)Reclining Nude: Crossed FeetBronze with a green patina, mounted on a wooden baseSigned and numbered 5/9 (on the base)11 x 16.5cm (4¼ x 6¼ in.)Conceived in 1980.Provenance:The Goodman Gallery, South AfricaPrivate Collection, London (acquired from the above in 1981)Thence by descent to the present ownersLiterature:Alan Bowness (ed.), Henry Moore, Complete Sculpture: 1980-86, Vol. 5, London, 1988, no. 788, another cast illustrated, p. 36-37Along with the theme of the mother and child, the reclining female figure is a form that dominated Moore's artistic output across his career. He loved the composition both for the essence of the idea as well as the freedom of expression that it afforded him. Unlike a seated figure that required a pedestal or support, or a standing figure which often lacked structural stability, the reclining figure could be presented in any manner and in any position without the incumbrance of other distracting elements. "One is standing, the other is seated and the third is lying down... of the three poses, the reclining figure gives the most freedom, compositionally and spatially... A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity." Henry Moore, cited in the Art Gallery Handbook, Art Gallery, New South Wales, Australia, 1994 In contrast to many depictions of the female nude, Moore's work is never overtly erotic or sexualised. Indeed it has more in common with the very early pictorial language of the Neolithic period in Europe or the art of some early central American cultures in which the simplified form is a symbol of fertility. Moore was naturally drawn to these images and whilst his figures are far more than simply maternal depictions, enduring memories of his mother - a tremendously strong woman who raised eight children and who represented a rock of stability for Moore - left a lasting impact on how he viewed the female figure. The present work is typical of Moore's small scale bronzes. The smooth curves of the body dominate the form whilst the more diminutive head, with its lack of naturalistic facial characteristics alludes to a generic stylised form rather than a personalised image. Propped up on both arms, the body creates a contrasting mix of soft curves and sharper angles at the joints, interrupted by the lack of hands and feet. In spite of the simplification of the form the work remains more naturalistic than his earlier abstract sculptures.Similarities can be drawn between some of Moore's pen and ink studies during the 1980s for example reference HMF 80(117), Reclining Nude and HMF 80(115) titled Idea for Sculpture: Reclining Nude. Other sculptures during this period include Reclining Figure: Pointed Legs LH 777 dated to 1979 and moving into 1982 where Moore explored a more upright figure with a fuller chest Reclining Figure: Pointed Head LH827. Quote:"From the very beginning the reclining figure has been my main theme.....The first one I made was around 1924, and probably more than half of my sculptures since then have been reclining figures." Henry Moore, quoted in J. Hedgecoe, Henry Moore, New York, 1968, p. 151Condition Report: In overall good original condition. Some small areas of verdigris notably to the hair and underside of the bronze where it attaches to the base. Would benefit from a light clean. Condition Report Disclaimer
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