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Lot 198
A Japanese patinated bronze meiping vase, early 20th century Meiji/Taisho period, bearing a religious inscription to the body, 18 cm high. Together with a Chinese bronze archaic form Jue, 12 cm high and a Japanese bronze baluster vase, Taisho period or later, with gamebirds amongst stands of bamboo, 22 cm high.Qty: 3The larger vase with slightly misshaped rim and small knocks and indents. One duck missing its head and neck.The Jue has a leaning handle, but otherwise in good condition.The smaller vase with calligraphy has an indent to the rim and a couple oftiny indents to the shoulder.
Lot 350
A French Empire design gilt bronze table lamp of open classical form, 20th century. With rams head boss and a square base. 54 cm overall height. Together with a pair of gilt metal demi lune two branch wall sconces with hanging cut glass lustres 40 cm wide x 36 cm high, and a pair of 20th century Japanese painted glass pictures, each 54 cm x 38 cm in wooden frames.
Lot 399
Five vintage graduated milk cans, three marked The Milk Standard Can, four stamped with names and addresses, largest 16 cm high, a West Flanders bronze medallion dated 1870, 6 cm diameter, an ammonite fossil, 10 cm diameter, a section of carved wood staff, two pieces of leaded stained glass, and a collection of fountain pens and pencils, including Yard-O-Led rolled silver, Parker, Conway Stewart 58, Conway Stewart 36 and Onoto.
Lot 99
Rory Breslin (b.1963)General Michael CollinsBronze, 71cm high, 63cm wide (28 x 24¾")SignedEdition 3/3Michael Collins bust is based on the interpretation of two images of him. The first is believed to have been taken not long before the Treaty negotiations where his countenance is determined, his gaze fixed and his hair slightly tousled. The second from a Pathé news reel possibly taken in Richmond Barracks in full uniform.By combining elements of the images; the aura of resolve and tenacity, the uniform and subtly adjusting some aspects of the presentation, i.e., bowing the head slightly in thought, and unbuttoning the uniform; the bronze depicts a Collins resolute yet perhaps reflective. Deep in thought, he emanates the presence of a man with many things to contemplate and difficult decisions to make. “To me the task is a loathsome one. I go in the spirit of the soldier who acts against his best judgment at the orders of his superior.” On being sent to Downing St. for the negotiations.
Lot 264
Viola Frey (American, 1933-2004). Pastel on paper drawing titled "The Discussion II," 1994. Consisting of two pieces of paper joined together, the work depicts numerous figures engaging in conversation interspersed with various flea market collectibles. Signed and dated along the lower right.Provenance: Private Collection; Nancy Hoffman Gallery, New York; Private Minnesota Collection.With a career spanning five decades, Viola Frey created works from powerful figurative ceramic sculptures to paintings and works on paper. These works reflected the contemporary culture, power, and gender dynamics. She was closely aligned with the Bay Area Funk movement, and considered herself a bricoleur - a junk accumulator - by reinterpreting collectible figurines as well as philosophical ideas, her personal experiences, and color theory to freely create new meanings in ceramic and bronze works. This work on paper echoes her sculptures and creates a dynamic conversation between media.Sight; height: 44 in x width: 60 in. Framed; height: 52 1/4 in x width: 67 1/2 in.
Lot 30
Chinese Warring States Period Qi State three-character bronze knife coin. This large knife coin with a raised border rim, in contrast to the thin, shallow, character strokes, which read "Qi Fa Hua." With a verdigris patina throughout.Provenance: Nakajima Antique & Curio Shop, Kyoto, 1960s; Private collection, California; Private collection, Minnesota.Length: 7 in.
Lot 32
Pair of Chinese 18th-century bronze plates with silver and gold inlay decoration depicting flowers and lily pads along a pond's edge. Geometric decoration along the edges. Marked along the undersides.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.(Each) Height: 8 3/4 in x width: 8 3/4 in x depth: 1 1/2 in.
Lot 338
Ferdinand Barbedienne (French, 1810-1892). Bronze sculpture depicting Aeneas carrying his father, Anchises, on his back and closely followed by his son, Ascanius. Ascanius turns back to glimpse the burning city of Troy while Anchises holds steadfastly to the vessel with his ancestors' ashes. A draped lion skin represents the family's ties to Aphrodite. Stamped "F. Barbedienne Fondeur" along the base of the pillar. Further stamped "Reduction Mecanique A. Collas Brevete" along the base.Provenance: Unique Shoppe, Seattle, Washington, 1969; Private Minnesota Collection.Height: 25 1/2 in x width: 11 in x depth: 12 in.
Lot 339
Hippolyte Moreau (French, 1832-1927) and Prosper Lecourtier (French, 1851-1924). Bronze titled "Piqueur Au Relais (Picker at the Relay)" depicting a hunter with a horn and two dogs at his side. The naturalistic base inscribed "HIP Moreau Lecourtier" and the plinth applied with inscribed label "Piqueur Au Relais, Salon des Beaux Arts."Height: 32 in x width: 19 in x depth: 15 in.
Lot 341
Herb Mignery (American, b. 1937). Cast bronze sculpture titled "The Shepherd," 1979, depicting a grizzled sheepherder seated with his loyal herding dog next to him. Incised signature, numbered 6/10, and dated along the base. Affixed to a wooden base.Provenance: Distinguished corporate collection, Minnesota.Height: 18 1/2 in x width: 14 1/4 in x depth: 8 3/4 in.
Lot 44
A lovely collection of Chinese antiques, including a small porcelain elephant from the early 20th century, a 19th-century bronze of a court figure, an early 20th-century bamboo carving of an immortal, and a lovely white jade or hardstone dragon or fu dog.Height ranges from 1 1/2 in to 10 in; width ranges from 1 1/3 in to 3 1/2 in; depth ranges from 1 1/4 in to 3 1/2 in.
Lot 45
A very fine group of antiques, including a cloisonne box, a Chinese porcelain jar, a lacquer box, a Chinese bronze, a lacquered and gilt fan box, a miniature scene carved from wood, and two Indian bronzes. Along with a silk fan.Height ranges from 1 3/4 in to 8 3/4 in; width ranges from 1 1/2 in to 14 3/4 in; depth ranges from 1 1/2 in to 6 1/4 in.
Lot 14
Dame Elisabeth Frink R.A. (British, 1930-1993)Mecca-Dante Trophy signed and numbered 'Frink 9/10' (on the base)bronze with a dark brown patina30.5 cm. (12 in.) highConceived in 1982-3Footnotes:ProvenanceSale; Phillips, London, 25 November 1997, lot 96Private Collection, U.K.LiteratureJill Wilder, Elisabeth Frink Sculpture, Catalogue Raisonné, Harpvale, Salisbury, 1984, p.197, cat.no.276 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.156, cat.no.FCR314 (col.ill., another cast)For Frink, the particular interest in sculpting animals lay in their relation to humans. She was purposeful in her selection, favouring species which had an ancient history of domestication. By considering the role of the horse, or dog, or boar which has been by man's side throughout our history, she is also considering humanity's own place. Amongst the most familiar of Frink's motifs, her examination of horses dates back to her earliest works of the 1950s, however it is the equine subjects which dominated her output between 1969 and 1985 that receive the highest acclaim:'This is Frink at her most relaxed. She knew everything about horses, and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head.' (Julian Spalding, in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18)This particular horse was commissioned for the 1983 Mecca-Dante Stakes, the winner of which was a horse called Hot Touch, owned by Mr. E Mollers, trained by Geoff Wragg and ridden by Pat Eddery.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 17
Dame Elisabeth Frink R.A. (British, 1930-1993)Head signed and numbered 'Frink 4/6' (at the base of the neck)bronze with a brown patina and polished goggles50.8 cm. (20 in.) highConceived in 1967Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Sculpture, 1967 (another cast)London, Waddington Galleries, I, II, III, Elisabeth Frink: Sculpture, 11 October-4 November 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, May-June 1997 (another cast)LiteratureBruce Laughton, 'Elisabeth Frink', Arts Review, 9 December 1967Jill Willder (ed.), Elisabeth Frink: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, p.172, cat.no.166 (ill.b&w, another cast)Sarah Kent, Elisabeth Frink: Sculpture and Drawings 1952-84, Royal Academy, London, 1985Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council Publication, 1997Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.110, cat.no.FCR192 (ill.b&w, another cast)One of the most effective themes throughout Frink's sculpture is her examination of the dichotomies inherent to humankind. Especially our predisposition to at once be tender and vulnerable, yet also our ability to be violent and merciless. In the age of post-war unease in which Frink came to prominence many sculptors of her generation shared such concerns. This loose group were branded together by Herbert Read under the term of 'Geometry of Fear'. Often their works manifested not in human forms, the iconography of the figure was too academic to display the desired brutishness or despair, but rather in animal forms. Lynn Chadwick looked to winged insects, Bernard Meadows to scuttling crabs, and Frink to stalking birds. Her anthropomorphic avian forms of the early 1950s either threatened their jutting beaks, or cowered under raised wing, and on occasion both simultaneously.As the decade wore on and into the '60s, Frink's birds developed into birdmen or winged figures as she increasingly explored the ability of the (always male) human body to effectively describe the human experience. These works are undoubtedly figural. However, Frink sculpts the body to a surface which is wrought with scarred texture, and she distorts proportions of trunks and limbs. Her ambition is not to render the human physiology, but again to display the opposing forces within human nature. There are two major works of the period in which Frink achieved this to high acclaim. Firstly, Blind Beggar and his Dog of 1958 in which a spindly man is heavily dependent on his canine aid yet strides confidently forward due to his trust, and secondly Judas of 1963, in which a powerful man stands resolutely upright, yet raises his arms in a protective manner as he has been blinded by his own treachery.For Frink, the apex of her explorations of man's contradictions dawns in 1967 with the arrival of her acclaimed Goggle Head series, to which the present work belongs. This series draws on several origins; the head gear of fighter pilots, the authoritative motorcyclists of the French police as well as the militant General Oufkir, frequently depicted in the press at the time wearing reflective sunglasses. Combined, these figures represent instances of man's danger, power, and menace. Yet Frink awards these figures of reprehension with a stylised treatment, elevating their presence. She adjusts her application and working of plaster, refining the surface dramatically so that the bronze is smooth, and she polishes their eyewear so we cannot scrutinise their gaze, only our own in the reflection.In so doing she iconises the brutality of our species, in a manner not unlike Francis Bacon's painting of the period. Frink knew and admired Bacon, and he in turn enjoyed Frink's brilliant wit. Like Bacon's battered and bruised portraits, Frinks' Goggle Heads are, as has been recently noted, 'grotesque and bizarrely kitsch manifestations, an archetypal man oozing glamour, sex, death and nihilism. They are transgressions, and one is unsure whether to be appalled or turned on by them!' (Calvin Winner, exh.cat. Elisabeth Frink Humans and Other Animals, Sainsbury Centre for the Visual Arts, 2018, p.36)Frink's Goggle Heads confirmed her resolve to pursue figuration and are considered 'her most original and significant creations' (ibid., p.35). They would be followed by the similarly styled but introspective Tribute Heads, which act as their counterparts, and naturalistic figuration would remain her chosen mode throughout the rest of her career. It should be noted that this decision, in a period through which abstraction in both sculpture and painting was highly celebrated, further aligns Frink with the great figurative painters of post-war Britain.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 47
Transitional Romanesque-Gothic Christ, 13th century.Bronze.On upholstered wood.Measurements: 17 x 10 cm. (figure); 22,5 x 22,5 cm.(support).Figure in bronze, representing a Christ with four nails, with the head inclined on the right arm. The body lacks naturalistic pretensions, as was usual in devotional art of the Romanesque period. The four nails (later reduced to three) and the long cloth (the cloth of purity is reduced by half, leaving the thighs uncovered) are also fully Romanesque solutions. Despite the fact that the period could be a Gothic piece, it remains faithful to Romanesque solutions: the body is resolved in a synthetic manner, abstracting from the elemental, enlarging the hands and heads as these are the parts that are mainly intended to be shown. A profusion of incisions chisel the body, outlining the ribs, the details of the crown and the drapery, adding great richness to the bronze.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.
Lot 53
A LARGE BENJAMIN MARTIN BRONZE HORIZONTAL DIAL, ENGLISH, CIRCA 1770,Signed B Martin LONDON, Engraved with hours scale in Roman numerals and divided by five minutes, sixteen point compass rose and sold gnomon, three securing points, 14in (35.5cm) diameter Footnotes:ProvenanceCollection of the late Nicholas Goodison.Benjamin Martin is recorded as working at South Street, Chichester, Sussex circa 1736-1740 and thereafter at London addresses until circa 1777.For a similar horizontal dial, see Retailer of the Sciences. Benjamin Martin's Scientific Instrument Catalogues, 1756-82, fig 21.For further information on this lot please visit Bonhams.com
Lot 37
Henry Moore (1898-1986). Animal Head, 1956. Signed and numbered 7/10. Bronze. Casts: Rijksmuseum Kröller-Müller, Otterlo 10/10 The Henry Moore Foundation: gift of the artist, 1977 0/10 Tate Gallery, London 4/10 Nelson-Atkins Museum of Art, Kansas City: Gift of The Hall Family Foundation Literature: John Hedgecoe, Henry Moore, Thomas Nelson & Sons Ltd, London, 1968, illustrated p.265 (another cast); W. J. Strachan, Henry Moore, Animals, Aurum Press, London, 1983, cat. no.116, illustrated (another cast); Alan Bowness (ed.), Henry Moore, Complete Sculpture, Vol.3, 1955-64, Lund Humphries, London, 1986, cat. no.396, illustrated p.22 (another cast). Property of a Distinguished Gentleman of Title. Dimensions: 19 x 9¾ x 22½ in. (48 x 25 x 57 cm.)
Lot 38
Henry Moore (1898-1986). Working Model for Figure: Arms Outstretched (1960). Conceived in 1960 and cast by the Fiorini Foundry, London in 1984 in a numbered edition of 9 plus 1 artist's proof Cast numbered 6/9 Casts: Cast 0/9 Henry Moore Foundation Cast 4/9 Montréal Museum of Fine Arts: David R. Morrice bequest 1981 Bronze Provenance: Private Collection, London. Property of a Distinguished Gentleman of Title. Dimensions: Height (including base): 62cm. Lot Essay: The human figure was Henry Moore’s abiding passion and the primary subject of his art. Working Model for Seated Figure: Arms Outstretched, conceived in 1960, belongs to a series of sculptures that Moore created in the 1960s that occupies a key position in his oeuvre. Paul Cézanne, Bather With Outstretched Arms, 1878, Oil on Canvas, Private Collection. The influence of Cézanne on Moore’s work is particularly apparent in the present sculpture. Reflecting on his lifelong passion for Cézanne’s work and its importance to him, Moore wrote with particular reference to Les Grandes baigneuses: “Cézanne’s figures had a monumentality about them that I liked. In his Bathers, the figures were very sculptural in the sense of being big blocks and not a lot of surface detail about them. They are indeed monumental but this doesn’t mean fat. It is difficult to explain this difference but you can recognise a kind of strength. This is a quality which you see only if you are sensitive to it. It’s to do with the full realisation of the three-dimensional form; colour change comes into that too, but not so importantly as human perspective. Bathers is an emotional painting but not in a sentimental way. Cézanne had an enormous influence on everyone in that period, there was a change in attitudes to art. People found him disturbing because they didn’t like their existing ideas being challenged and overturned. Cézanne was probably the key figure in my lifetime†(quoted in Alan Wilkinson, ed., Henry Moore, Writings and Conversations, Lund Humphries, 2002, pp. 150–51). In 1959, a year before the conception of the present work, Moore managed to acquire for himself one of Cézanne’s paintings of bathers, later declaring, "It's the only picture I ever wanted to own. It's...the joy of my life. I saw it [in 1959] in an exhibition and was stunned by it. I didn't sleep for two or three nights trying to decide whether to [buy it]...To me it's marvellous. Monumental." (quoted in Monitor, first broadcast in 1960). The figures in Moore's sculptures rarely engage in gestures of extrovert display. Mothers may embrace or cradle their children, but Moore's single figures, in their typically seated or reclining positions, usually hold their arms close to their sides, or angle them to support their bodies. This lack of gesture does not necessarily imply an emotional aloofness on the part of the sculptor, rather it relates to the significant structural difficulties in carving or casting a fully extended or raised arm as part of a sizeable sculpture--the arms, together with the ankles, are often the most fragile parts of a standing figure. Given the large, block-like mass of most Moore sculptures, which the sculptor related to landscape forms, a raised or extended arm should be a rarity, and so it is in Moore's oeuvre--the present Working Model for Seated Figure: Arms Outstretched is the only major Moore sculpture that exhibits this gesture. Without hands, the emotional context of the woman's gesticulation is ambiguous, and probably intentionally so. She may be engaged in an act of lamentation, or quite the opposite: she may be prepared to warmly greet and even embrace the approaching viewer, eager to engage in a spirited conversation while gesturing with her arms. Moore is known to have admired an Arawak Indian bird man from Jamaica in the collection of the British Museum, a figure with the body of a man and the head and beak of a bird, with outstretched arm that act as wings (fig. 1). "What I liked about this," he wrote, "is the way the sculpture was built up in divisions, lump upon lump, as though it were breathing in matter, up from the toes, along the arms from the fingers, into the great swelling chest" (quoted in D. Finn, Henry Moore at the British Museum, New York, 1981, p. 117). Although Seated Figure: Arms Outstretched does not actually exhibit the same "lump by lump" manner of construction, the alternate swellings and constrictions of form along the course of the figure generate a similarly powerful effect. The truncated legs take on more mass at the hips, then grow narrower at the waist, and finally expand most broadly at the upper body and arms to make them the most salient features of the sculpture. Moore extended the central horizontal axis of the arms across the ledge-like overhang of her breasts, more pronounced in this working model than in the smaller maquette done in 1960, which emphasises the rising gesture that characterises this sculpture, in contrast to the earthbound weightiness one ordinarily associates with Moore's figures. No less striking and unusual than the outstretched arms in this Seated Figure is the large hole in her head. Moore frequently defined the faces of his figures with a pair of small, shallow holes for eyes, or with a single sizeable concavity, as if the face were simply a mouth only. There is an opening under the beak of the Arawak Birdman. To pierce the head of the woman with such a large, gaping hole, making it like the huge eye of a needle, is an extreme but effective measure that opens up the sculpture, while adding a further note of uncertainty concerning the woman's emotional state and the nature of her expression. Moore wrote, "For me the hole is not just a round hole. It is the penetration though the front of the block to the back. This was for me a great revelation, a great mental effort... The hole as form--there is as much shape in a hole as in a lump...There's no doubt a deep psychological explanation of the fascination of the hole" (quoted in A. Wilkinson, ed., Henry Moore: Writings and Conversations, Berkeley 2002, pp. 206 and 207). Literature: Alan Bowness, ed., Henry Moore, Sculpture and Drawings, 1955-1964, vol. 3, London, 1986, no. 463a, illustration of another cast pp. 98-99 David Mitchinson, ed., Celebrating Henry Moore, Works from the Collection of the Henry Moore Foundation, London, 1998, no. 192, illustration of another cast n.p.
Lot 65
Auguste Rodin (1840-1917). Iris, Study with Head Iris/Étude avec Tête. Signed 'A. Rodin No. 6' on foot. Inscribed on base underfoot: ‘© by Musée Rodin 1971’ and ‘Susse Fondeurs/Paris Iris, messagère des dieux Musée Rodin Cast, 1971 Bronze Provenance: Galeria Theo, Madrid. Property of a Distinguished Gentleman of Title. Dimensions: Height: 48 cm. (18 7/8 in.) Literature: Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, no. 171, illustration of the larger version Albert E. Elsen, Rodin, New York, 1963, p. 185, illustration of another cast Ionel Jianou and Cécile Goldscheider, Auguste Rodin, Paris, 1967, p. 105, pl. 77, illustration of another cast Robert Descharnes and Jean- François Chabrun, Auguste Rodin, Paris, 1967, p. 249, illustration of the terracotta John L. Tancock, The Sculpture of Auguste Rodin, Phildelphia, 1976, pp. 290-292, illustration of another cast Albert E. Elsen, In Rodin's Studio, A Photograhic Record of Sculpture in the Making, Ithaca, New York, 1980, no. 95, illustration of the plaster Catherine Lampert, Rodin Sculpture and Drawings, London, 1986, no. 141, illustration of another cast; pis. 206 & 207, no. 144, illustration of the larger version
Lot 68
To be sold without a reserve. Sava Botzaris (1894-1965). Portrait Bust of George Bernard Shaw. Signed: ‘Sava Botzaris’ on the neck. Bronze. Note: This lot is accompanied by a framed letter to the artist from George Bernard Shaw. Provenance: Sotheby’s London Where acquired by the current owner. Property of a Distinguished Gentleman of Title. Dimensions: (Base included) 28 in. (H) (Sculpture) 21 in. (H)
Lot 148
KruzifixLimoges, 13. Jh. Viernageltypus mit leicht geneigtem bekrönten Kopf. Anatomie und Lendentuch durch Gravuren strukturiert. Kreuzbalken mit Nomen sacrum. Bronze, mit Resten einer Vergoldung und polychromem Emaildekor. Rs. alte Lotnummer (?). Verbogen, ein Arm gebrochen, Email besch. 20 x 12 cm.
Lot 815
Hanneke Beaumont1947 Maastricht - lebt in BelgienFigur N° 39. 1999Bronze auf Eisengestell. Monogrammiert. Ex. 7/7. 220 x 185 x 60 cm. Hanneke Beaumont wurde 1947 in Maastricht, Niederlande geboren. Nach einem Studium der Dentalmedizin in den Vereinigten Staaten kehrte sie nach Europa zurück. Dort begann sie im Alter von 30 Jahren ein Studium an der Kunstakademie in Braine-l'Alleud, sowie in den folgenden Jahren in Brüssel und Anderlecht. 1994 wurde sie vom internationalen Zentrum für zeitgenössische Kunst ausgezeichnet. Mittlerweile ist Beaumont international anerkannt, durch Ausstellungen in Deutschland, Spanien, Frankreich, Belgien und vielen weiteren Ländern. Beaumonts Bronze-, Terracotta- und Gusseisenskulpturen zeichnen sich durch raue und unbearbeitete Oberflächen aus. Ihre Motive werden als androgyn beschrieben und lassen sich nicht immer dem männlichen oder weiblichen Geschlecht bzw. jung oder alt zuordnen. Ihre Skulpturen sollen weniger bestimmte Personen oder den ideellen Menschen darstellen, sondern lassen sich mehr als "Annäherung an den Menschen" verstehen. Die bei uns im Auktionshaus angebotene Bronzeskulptur "Figur N° 39" aus dem Jahr 1999 stellt einen auf einem Eisengestell liegenden Menschen dar. Je nach eigener Position schaut dieser entweder über den Kopf des Betrachters hinweg oder in eine komplett andere Richtung. Provenienz: Privatsammlung
Lot 803
Elmar Dietz1902 Jesserndorf - 1996 Münchenheiliger UrbanDer Schutzpatron des Weines mit einem Traubenzweig in seiner linken und Pilgerstab in seiner rechten Hand. Bronze, braun patiniert. Auf der Plinthe oben signiert mit " Elmar Dietz". H. (mit Sockel) 40 cm. Provenienz: Privatsammlung Süddeutschland
Lot 811
Lucien Wercollier1908 Luxemburg - 2002 ebendaKompositionBronze, gold patiniert und poliert. Mit eingeritztem Monogramm und mit gestempelter Exemplarnummer "4/6". 23 x 29 x 16 cm. H. (mit Sockel) 38 cm. Wercollier, selbst Sohn eines Bildhauers, studierte 1924 bis 1927 an der Handwerkerschule in Luxemburg, anschließend bis 1933 an der Kunstakademie in Brüssel und an der École nationale supérieure des Beaux-Arts de Paris bei Henri Bouchard. Ab 1948 wandte sich der Künstler der reinen Abstraktion zu und gilt heute als der Wegbereiter der ungegenständlichen Skulptur in Luxemburg. Harmonische organische Formen bestimmen sein Oeuvre. Bevorzugt verwandte der Bildhauer Bronze oder Marmor, Materialien, deren Oberflächen stets poliert wurden, um das Licht als integrativen Bestandteil des Werkes einzufangen. Provenienz: Privatsammlung Süddeutschland
Lot 816
Ernst Fuchs1928 Wien - 2015 ebendaMosesbrunnenBronze, braun patiniert. Signaturenstempel am Unterrand. Gießerstempel: Gießerei Strassacker. Eines von 6 Exemplaren. H. 185 cm. Ernst Fuchs (1928 Wien-2015 Wien) entdeckt früh seine künstlerische Ader. 1946 beginnt er ein Kunststudium an der Akademie der Bildenden Künste in Wien, 1949 hat er seine erste Einzelausstellung in Paris - wohin er dann für zwölf schaffensreiche Jahre seinen Wohnsitz verlagert. Mangels Ateliers malt er nachts in den Kneipen von St. Germain des Près. Bald kennt man den jungen Mann dort, dessen Arbeiten auch berühmten Künstlern wie Jean Paul Sartre, Jean Cocteau und Salvador Dalí gefallen. Reisen durch Europa und die USA werden für Ernst Fuchs zur Inspirationsquelle. In Israel macht er sich in einem abgelegenen Kloster mit der Ikonenmalerei vertraut. An der Westcoast wird er dann auch zum Guru einer neuen jungen Kunstszene, zählt auf internationalen Kunstmessen bald zu den Stars. Mit seiner (dritten) Frau Eva-Christina bildet er ein Paar, das zur Stil-Ikone der Sechziger Jahre wird. Der Fokus in seinem Werk liegt auf angewandter Kunst, schließlich ging es Ernst Fuchs immer darum, unseren Lebensraum mit kunstvoller Ästhetik, menschenwürdig ein Gesamtkunstwerk zu gestalten. Und so wirkte er nicht nur als surrealistischer Maler und Bildhauer, sondern auch als Architekt und Designer. Er entwarf Bühnenbilder, Möbel, Tapeten und Schmuck, er war Dichter, Komponist und Schriftsteller. Einen wunderbaren Eindruck von Schaffen und Gedankenwelt des Künstlers vermittelt die Otto-Wagner Villa in Wien. Ernst Fuchs hatte das vom Abbruch bedrohte Jugendstil-Juwel 1972 erworben, sodann aufwändig saniert und in eines der schönsten Ateliers Europas mit selbstdesignten Tapeten, Möbeln, Skulpturen, Lustern und Gemälden verwandelt. Berühmte Persönlichkeiten, wie Placido Domingo, Edward Teller, Oskar Werner und Falco wurden hier vom Meister porträtiert. Auch Grace Kelly, Curd Jürgens und Yoko Ono schauten vorbei. 1988 wurde die Wagner-Villa zum Ernst Fuchs Privatmuseum, das eine Retrospektive seines Schaffens von 1945 bis zur Gegenwart zeigt. Kunst ist hier in allen Ecken zu finden. Sie zeugt von einer unglaublichen Schaffenskraft und offenbart die tiefe Faszination des Künstlers für antike Sagen und religiöse Motive. Davon zeugt im Park der Villa auch ein Mosesbrunnen mit der biblischen Person - die Fuchs immer mit Wasser verband - als zentraler Figur. Insgesamt entstanden mehrere, von Ernst Fuchs ganz im Geiste des Phantastischen Realismus erdachte Mosesbrunnen, unter anderem am Domplatz in Wiener Neustadt in Niederösterreich und im Stadtpark von Bärnbach in der Steiermark. Vorliegende Mosesbrunnenfigur, 1,85 Meter hoch und aus braun patinierter Bronze, ist eines von insgesamt sechs Exemplaren. Allesamt stellen sie eine Hommage an die Taten des Moses dar - und an Michelangelo: Ausdruck, fülliger Bart und vor allem die Hörner machen sofort klar, dass Ernst Fuchs dessen Moses, eine der bedeutendsten Monumentalstatuen der Kunstgeschichte, beim Schaffensprozess im Sinne hatte. Ein Zertifikat der Gießerei Strassacker wurde angefragt Provenienz: Vom Künstler direkt erworben. Privatsammlung Deutschland Vergleichsbeispiele im Öffentlichen Raum: Domplatz Wiener Neustadt / Wagner-Villa in Wien / Stadtpark von Bärnbach in der Steiermark. Ausstellung: Hoffnungs(t)raum Phantastisch - Eine Reise durch die phantastische Kunst. Kunsthalle Leoben 2017. Bis Juli 2022 als Leihgabe im Ernst Fuchs Museum Wien.Herr Markus Nehr, Kunstgiesserei Strassacker GmbH & CoKG hat die Auflage von 6 Exemplaren schriftlich bestätigt.Wir danken Frau Anni Fuchs und Herrn Nehr, Kunstgiesserei Strassacker GmbH & CoKG für die freundliche Unterstützung bei der wissenschaftlichen Bearbeitung.
Lot 131
Großer sitzender Buddha Siam, um 1800 Bronze, mit Lack und Vergoldung, Augen mit Perlmutt eingelegt. Das Gewand des in paryankâsana sitzenden Buddhas ist mit prächtigen Mustern und Borten in feinem Relief geziert. Seine Hände sind in der Geste der Erdberührung bumhisparsa mudrâ. Die ketumala-Flamme auf der ushnisha auf dem Oberkopf ist separat gefertigt. Berieben. H. 105 cm. Provenienz: Van Ham, Auktion 9. Juni 2016, Lot 2204 - süddeutscher Privatbesitz.
Lot 813
Lluis Cera1967 Barcelona - arbeitet ebendaOhne Titel. 2006Carrara-Marmor, Seil. 28 x 23 x 20 cm. 1967 in Barcelona geboren absolvierte Lluís Cera ein Studium der Bildenden Künste, Schwerpunkt Bildhauerei in Barcelona. Der katalanische Bildhauer hat bereits viele Ausstellungen in verschiedenen Ländern realisiert und mehrfach Auszeichnungen für sein umfassendes Werk bekommen. Seine Arbeit zeichnet sich durch einen unglaublich sensiblen und präzisen Umgang mit verschiedenen Materialien aus, zu denen vor allem Marmor, Granit, Eisen, Bronze und Holz gehören. Dabei springt einem direkt die Harmonie der Massivität der Substanz und der Weichheit der Oberflächen ins Auge, wodurch die Skulpturen eine emotionale Komponente erhalten. Ein weiterer wichtiger Aspekt, der sich durch Ceras Oeuvre zieht, ist die Verbindung seiner Skulpturen mit literarischen oder musikalischen Textfragmenten, welche sein Werk um eine poetische Ebene erweitern. Lluís Cera erhielt in seiner Laufbahn viele Preise unter anderem den "Certamen Itinerario escultórico (Skulpturenwettbewerb) von Álava" 2001 für die Skulptur Bancaja. Echtheitsbestätigung: Kopie des Zertifikats des Villa Haiss Museums liegt vor Provenienz: Süddeutscher Privatbesitz
Lot 632
Three bronze medallionsto include a medallion by Guillaume Dupre 'Henri IIII and Maria Augusta' with obverse 'Propago Imperii' , another after Armand-Jean Duplessis 'Cardinal Richelieu', a contemporary cast bronze tribute medal, and a further medallion 'Lvd. Mag.Fra.Et.Nav.Rex.P.P' (3)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 644
Group of piecesto include a pair of small Japanese bronze vases, 15cm high, a set of brass postal scales, a large wax seal, 11cm approx and a set of graduated brass weights, 5cm x 4cmAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
Lot 222
UNITED KINGDOM. Lot of 10 various metals coins, in the original box as issued by the Mint.Coin 1: Elizabeth II, 1952-2022, Crown 1953. Royal Mint. Proof. Coronation. Mintage: 40,000. 39 mm. 28.28 g. CuproNickel.A crown is a 5 shilling coin. This commemorative crown was issued to commemorate the Coronation of Elizabeth II, 2 June 1953. The equestrian obverse was adapted from the Great Seal of the Realm.In secure plastic holder, graded NGC PF 64 CAMEO, certification number 6296888-011. NGC Census in this grade: 116.NGC Census in higher grade: 316Total NGC Census: 520Coin 2: Elizabeth II, 1952-, Halfcrown 1953. Royal Mint. Proof. Mintage: 40,000. 32.3 mm. 14.14 g. CuproNickel.In secure plastic holder, graded NGC PF 67 CAMEO, certification number 6296888-012. NGC Census in this grade: 22.NGC Census in higher grade: 7Total NGC Census: 216Coin 3: Elizabeth II, 1952-2022, Two Shillings 1953. Royal Mint. Proof. Mintage: 40,000. 28.3 mm. 11.31 g. CuproNickel.In secure plastic holder, graded NGC PF 64, certification number 6296888-013. NGC Census in this grade: 27.NGC Census in higher grade: 137Total NGC Census: 178Coin 4: Elizabeth II, 1952-2022, Shilling 1953. Royal Mint. Proof. Scottish. Mintage: 40,000. 23.5 mm. 5.65 g. CuproNickel.In secure plastic holder, graded NGC PF 66 CAMEO, certification number 6296888-015. NGC Census in this grade: 62.NGC Census in higher grade: 39Total NGC Census: 165Coin 5: Elizabeth II, 1952-2022, Shilling 1953. Royal Mint. Proof. English. Mintage: 40,000. 23.5 mm. 5.65 g. CuproNickel.In secure plastic holder, graded NGC PF 66, certification number 6296888-014. NGC Census in this grade: 60.NGC Census in higher grade: 72Total NGC Census: 202Coin 6: Elizabeth II, 1952-, Sixpence 1953. Royal Mint. Proof. Mintage: 40,000. 19.5 mm. 2.83 g. CuproNickel.In secure plastic holder, graded NGC PF 67, certification number 6296888-016. NGC Census in this grade: 28.NGC Census in higher grade: 22Total NGC Census: 178Coin 7: Elizabeth II, 1952-, Threepence 1953. Royal Mint. Proof. Brass. Mintage: 40,000. 6.8 g. Nickel-Brass (Neusilber).In secure plastic holder, graded NGC PF 63, certification number 6296888-017. NGC Census in this grade: 6.NGC Census in higher grade: 131Total NGC Census: 138Coin 8: Elizabeth II, 1952-2022, Penny 1953. Royal Mint. Mintage: 1,348,400. 31 mm. 9.4 g. Bronze.In secure plastic holder, graded NGC PF 64 RD, certification number 6296888-018. NGC Census in this grade: 34.NGC Census in higher grade: 111Total NGC Census: 167Coin 9: Elizabeth II, 1952-, Halfpenny 1953. Royal Mint. Mintage: 8,950,000. 25.5 mm. 5.4 g. Bronze.In secure plastic holder, graded NGC PF 64 RB, certification number 6296888-019. NGC Census in this grade: 26.NGC Census in higher grade: 114Total NGC Census: 154Coin 10: Elizabeth II, 1952-2022, Farthing 1953. London. Proof. 22.05 mm. 2.8 g. Bronze.In secure plastic holder, graded NGC PF 65 RB, certification number 6296888-020. NGC Census in this grade: 34.NGC Census in higher grade: 70Total NGC Census: 151Total gross weight: 92.26 g. Composition: Various Metals.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 5
GREECE. BYZANTINE EMPIRE. Justinian I (527-565). Bronze follis, 541/2. Constantinople. Justinian I 482-565, inherited the throne from his uncle Justin I in 527. Justinian is best known for his very ambitious Renovatio imperii, or Restoration of the (Roman) Empire. Ultimately this ambition was only partly realised but still impressive, resulting in the reconquest of Italy, Spain, and North Africa from the Ostrogoth and Vandal tribes. This piece, introduced in 538 at the height of Justinian's power, is of the "heavy" variety, averaging 50mm in diameter and 20g in weight. The purpose of this unusually large coin has been the subject of considerable academic debate. It has been suggested by some that an influx of gold from the North African conquest brought with it inflationary pressures that led to the devaluation of the gold solidus in relation to the copper follis, and that this new size was an attempt to remedy the disrupted gold/copper ratio. Others have argued that this coin's purpose was propaganda and PR. The larger coin providing a larger canvas for Justinian to display his success and prestige to the wider population. Regardless, the experiment with the larger follis didn't work for very long as the weight and size was quickly reduced soon after. Helmeted, cuirassed bust facing holding globus cruciger and shield; cross to right "DN IVSTINIANVS PP AVG" / Large M between A/N/N/O and numerals representing the regnal year, cross above, officina letter beneath, CON in exergue.Ch VF Strike: 4/5 Surface: 2/5, slight bend. Diameter: 51 mm.Weight: 21.25 g.Composition: Bronze.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
Lot 1
The earliest recorded Whitechapel Foundry mortar: An exceptional and large James I bronze mortar, dated 1614, by William Carter (fl.1610-1616)Inscribed beneath the rim ‘WILLIAM CARTER MADE ME FOR JAMES BILL 1614', and with the trefoil mark and the initials 'TB' for Thomas Bartlett (d.1632), the waist with a broad band of tracery below alternating septfoils and trefoils, three cords below, 34cm diameter, 25.5cm highThe bellfoundry at Whitechapel, London, was established in 1567. Thomas Bartlett was William Carter's foreman and apprentice, who took over the Whitechapel foundry on Carter's death in 1619. Only one other mortar by William Carter is recorded, again with Bartlett's initials, and made one year after this example. It is the collection of The Victoria & Albert Museum, London, (accession no. M,231-1939) and inscribed 'WILLIAM CARTER MADE ME FOR GEORGE BEERE TB 1615'. Provenance:The Christopher Bangs Collection
Lot 10
A fine Elizabeth I bronze mortar, cast with a rare head of a man, by Henry Oldfield II, Nottingham (fl.1582-1620), circa 1590With four lug handles, two of which are cabled and two with iron rings (for suspension over fire), and spaced by individual letter stamps, 'I', 'e' and 'I', in blackletter, and under a further 'I' cast in deep relief the head of a bearded man wearing a Tudor cap, 22cm diameter, 15.5cm highProvenance: Robert Spalding CollectionThe Christopher Bangs CollectionLiterature:This mortar is discussed and illustrated M. Finlay 'English Decorated Bronze Mortars & their Makers' (2010), p. 93. fig. 169
Lot 11
An exceptionally rare 13th century Gothic bronze mortar, English, or possibly Scottish, circa 1250With four handles, two with suspension rings (for use over a fire) and pairs of split-column pilasters, 29cm across handles, 23cm diameter, 16cm highProvenance: Robert Spalding CollectionThe Christopher Bangs CollectionLiterature:This mortar is discussed and illustrated M. Finlay 'English Decorated Bronze Mortars & their Makers' (2010), p. 16, fig. 9A comparable mortar, with a monastic background, excavated at Barnwell Priory, Cambridgeshire, in 1872, and formerly in the collection of a pharmacist, Cromer, Norfolk is illustrated Ibid., p. 15, fig. 7. Another, in the Mark Munson Collection, is illustrated p. 16, fig. 8. The author illustrates two further examples, both excavated in Glasgow, p. 16, figures 10 & 11. The former, found in the crypt of Glasgow Cathedral, in 1993, is particularly comparable to this Lot.
Lot 116
A late 17th/early 18th century bronze skillet, English, circa 1680-1700With slightly moulded rim, the bowl raised on three splayed 'D'-section legs, the handle with traces of an inscription, height 16.5cm, length overall 37.5cmSome raised areas to pan and handle. Pitting and scratches.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
Lot 13
A small and good Charles I/II bronze skillet, South-East England, circa 1640-70 By John Reeve(s), the handle cast 'IOHN.REEVE' and with an open brace, the three splayed legs cast with hooves, 9cm diameter, 19.5cm wide, 8.5cm high Provenance: The Syd Levethan Collection, (The Longridge Collection) & Christopher Bangs Collection Literature: See R. Butler & C. Green, 'English Bronze Cooking Vessels and Their Founders 1350-1830' (2003), p.90 where a skillet by John Reeve(s) (also cast with ownership initials) is illustrated. The authors note only 'One other JOHN REEVE skillet has been recorded (Sotheby's, Sussex, February 1992, Lot 426), also of small size'. It is highly likely this is the Lot from the1992 Sotheby's sale
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