A SET OF TWELVE ITALIAN BRONZE OVAL PLAQUES OF ROMAN EMPERORSLATE 18TH/EARLY 19TH CENTURY With two duplicate portraitseach 10.5cm high Provenance: The Simon Neal Collection Small-scale reliefs after the antique were a popular souvenir of the Grand Tour and amongst the most sought after subjects were the so-called 'Twelve Caesars': Julius Caesar, Augustus, Tiberius, Caligula, Claudius, Nero, Galba, Otho, Vitellius, Vespasian, Titus, and Domitian. The present lot represents ten of these emperors and includes two duplicates. They appear to be well cast detailed examples, each within a relief cast border with lion masks and trophies and their backgrounds are carefully punched, which demonstrates the high level of workmanship involved in their production.
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AFTER THE ANTIQUE, AN ITALIAN BRONZE FIGURE OF AUGUSTUS OF PRIMA PORTA LATE 19TH CENTURY On a circular wood base 42cm high overall Provenance: The Simon Neal Collection This bronze is a reduced version of the oversize marble statue depicting Augustus Caesar, the first emperor of the Roman Empire, discovered on April 20, 1863 during archaeological excavations at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta.
AFTER THE ANTIQUE, AN ITALIAN STATUETTE OF THE MARCUS AURELIUS EQUESTRIAN MONUMENT 19TH CENTURY Bronze with white marble base 26cm high Provenance: The Simon Neal Collection After the ancient bronze equestrian statue of Marcus Aurelius in the Piazza del Campidoglio, Rome. Along with the groups of Alexander and Bucephalus this was the most important statue to survive unburied from antiquity. The reason for its survival may have been because the subject was mistakenly believed to be Constantine the Great (AD 272-337), the first Christian Emperor, so was not destroyed as a pagan idol by the Christians. Condition Report: Surface to bronze with rubbing from age/handling and cleaning. Surface dirty and slightly rough to the touch in some parts. 2 fingers missing to left hand. Base with losses around all edges of top. Signs of various fixing agents beneath hooves- suggesting it may have been refixed several timesSurface is slightly dirty from atmosphere and handling,Please see additional images which form part of this condition reportCondition Report Disclaimer
A BRONZE BUST OF ALEXANDER THE GREAT (356-323 BC) 19TH CENTURY Mounted on a Blue John socle 22cm high Provenance: The Simon Neal Collection Condition Report: Surface is dirty from atmosphere and handling- hair area shows damage, creased and holed surface. Variance of colour to patina- slightly lighter chocolate brown patina to centre of face- with 'circles' to right cheek. Base with knock to top edgePlease see additional images which form part of this condition reportCondition Report Disclaimer
AN ITALIAN BRONZE CHIMERA ON A STAND 19TH CENTURY 45 x 45cmProvenance: The Simon Neal Collection Condition Report: Flat space above head and open body suggest this may be a mount/fragment from a larger piece. 1 horn absent- 1 horn with repair but incomplete- as is tongue. Old Verdigris and signs of repair to left wing. Traces of silver colour to surface- stand part of lotSurface is slightly dirty from atmosphere and handling,Please see additional images which form part of this condition reportCondition Report Disclaimer
AN ITALIAN PORTRAIT RELIEF ROUNDEL OF THE EMPEROR HADRIAN (76-138 AD) IN RED IMPERIAL PORPHYRY POSSIBLY 17TH CENTURYWith gilt bronze laurel wreath mount inscribed 'HADRIANVS' and a later brass easel23cm diameter Provenance: The Simon Neal Collection The subject of this profile relief portrait is the Emperor Hadrian (76 AD - 138 AD), which is highly appropriate given the significance of the stone it is carved from. The ancient Romans referred to the deep red and purple stone extracted from Mons Igneus (Mountain of Fire), now Gebel Dokhan in Egypt as Porphyry - which means purple. The use of 'Imperial porphyry' - as it is often called, was to a large extent controlled by the emperors, who had taken great pains and expense to extract it and towards the end of the Empire it became associated with the sacred power and imperial authority of the emperor, from cradle to grave. They were born in a chamber of porphyry and were buried in tombs of the same material, whilst in the intervening years in power, were draped in purple cloth of a similar hue. Therefore, even after the Roman Empire fell, the stone retained a special prestige, and the use of this beautiful deep red and speckled stone was revived during the 17th century. However, since the Egyptian quarries closed in the 5th century, the only way of obtaining the material was to reuse ancient pieces that remained in Rome.
CIRCLE OF NICOLÒ ROCCATAGLIATA (ITALIAN, 1560-1633), A VENETIAN GILT BRONZE FIGURE OF VENUS WITH A DOLPHIN 17TH CENTURY On a Breccia Africano marble plinth 23cm highProvenance: The Simon Neal Collection Roccatagliata's known activity is confined to Venice and the aquatic iconography of this gilt-bronze Venus, appearing with a dolphin and a conch shell is certainly appropriate to its production in the Italian city composed of a 100 plus islands. Roccatagliata fashioned models for the famed painter Tintoretto, to help him devise his compositions. On 31 January 1593, Nicolò was commissioned to make the bronze statuettes of St George and St Stephen for the entrance to the balustrade across the choir of S Giorgio Maggiore. Other known works by him include a signed standing Virgin and Child (Ecouen), a seated Virgin and Child (New York, Met.), as well as Adam and Eve and two music making putti (Vienna).
A FRENCH BRONZE MODEL OF A PACING HORSE 19TH CENTURY On a porphyry veneered pedestal base 32cm high Provenance: The Simon Neal Collection This dynamic model of a pacing horse, was inspired by the archetypal equestrian models by Giambologna (1529-1608) and Antoine Coysevox (1640-1720). Condition Report: Bronze patina with rubbing from handling, age and cleaning. Underlying colour slightly red in areas (this shows up more vividly in additional flash images- less so to the naked eye). Base lighter in weight than might be expectedSurface is slightly dirty from atmosphere and handling,Please see additional images which form part of this condition reportCondition Report Disclaimer
λ JEAN RENÉ GAUGUIN (FRENCH-DANISH, 1881-1961), THE DISCUS THROWERCOPENHAGEN, CIRCA 1926-1927A lifesize sculpted and painted plaster figure on integral plinth195cm highThe son of Paul Gauguin, Jean followed his father into the arts working as a sculptor. Perhaps best known for his figural work for Bing & Grondhal he also specialised in life size studies culminating in winning a bronze medal at the 1924 Paris Olympics for his bronze life size figure of a boxer. This bronze figure stands in the State Museum of Art in Copenhagen whilst his plaster and cement model for it stands in front of the Arhus stadium. It seems that this lot, a more static version of a Diskoskater or diskuskast than his smaller more fluid bronzes, could have been a follow-up design to his award winning boxer.Condition Report: Unsigned. Sculpture is in two parts- top and base- surface of plaster is fragile and there have been restorations- with consequent colour variances including but limited to; left hand, areas above and below joint to front and bask, chest, shoulders etc. Also has taken some losses to margins- revealing white under-surface- Surface is dirty from atmosphere and handlingFragile- will require careful handling and transport but even in the best of hands- may not survive rigours of international travel intactPlease see additional images which form part of this condition reportCondition Report Disclaimer
A BRONZE MODEL OF A RECUMBENT GREYHOUND IN THE MANNER OF THOMAS WEEKS, 19TH CENTURY On a Siena marble base 19cm high, 21.5cm wide, 10cm deep overall Condition Report: Marks, scratches, knocks and abrasions commensurate with age and use.A variegated patina. A small hole to the tail area of the dog.The marble base with chips in particular to the corners and edges.There is some discolouration to a layer of ?polish? that has perhaps been in the sun? This layer is scratched to show the unblemished marble below.Please see additional photographs for a visual reference to condition. Condition Report Disclaimer
A BRONZE FIGURE OF A PACING LIONNORTH ITALIAN OR SOUTH GERMAN, EARLY 19TH CENTURY 15.5cm long For closely related bronzes, see Christie's, New York, 500 Years: Decorative Arts Europe, 22nd November 2011, Lot 3 ($8,750), and Christie's, London, Important European Furniture, Sculpture and Tapestries, 6th July 2006, Lot 25 (£9,000).
A FRENCH PATINATED BRONZE EWER, TO THE MODEL BY SIGISBERT-FRANCOIS MICHEL (1728-1811)19TH CENTURYThe ovoid and scroll handled body surmounted by a bearded triton, on a waisted circular socle and square plinth46cm high, 22cm wideThe present aquatic-themed urn is derived from a plaster model by the sculptor Sigisbert-Francois Michel, exhibited at the Academy of St Luke in Paris in 1774.Condition Report: The ewer bears the usual minor marks, scratches and scuffs overall consistent with age and use.The patina is dark overall and fairly even, with some slightly warmer tones where it's worn to the handle and edges of the socle.There are a handful of small circa 2-4cm patches particularly to the reverse and the edges of the ovoid body, where the surface seems slightly raised or inconsistent, which may indicate a lacquer or refreshed patination of the surface. There is also some slight flaking to the surface colour to the inside of the lip, and one or two tiny dents/knocks to the body.Structurally no damages have been detected at the time of writing this report.Condition Report Disclaimer
AFTER THE ANTIQUE, A 'GRAND TOUR' BRONZE FIGURE OF THE BORGHESE GLADIATORPROBABLY ITALIAN, EARLY 19TH CENTURY31.5cm highCondition Report: There are marks, knocks, scratches, scuffs and abrasions consistent with age and use, some to the extremities and edges.Overall the patina is matt, the bronze variegated with some darker areas; scuffed with some scratches generally.The blade of the sword has been broken, re-soldered, and is currently loose though the screw to the blade allows it to be slotted into the handle of the sword; the handle rotates slightly in the hand.The underside has two of the four screw holes vacant, where the figure is fixed to the base.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
AFTER THE ANTIQUE, A BRONZE FIGURE OF ATHENA AND ANOTHER FEMALE FIGUREPROBABLY FRENCH, LATE 19TH CENTURYSet on Marmo Rosso marble basesthe tallest 29cm high overall, the base 8cm wideCondition Report: There are marks, knocks, scratches, scuffs and abrasions consistent with age and use, some to the extremities and edges.The dark golden bronze with some traces / areas of darker patination; the back of one figure in particular with a 'scratched' finish; the serpent cast separately, cracked and later re-fixed with a pin so the serpent is now slightly loosely fixed; the same figure with a vacant clenched fist possibly lacking an object that it originally held.The Marmo Rosso bases with some cracks within the veining; some chips and knocks including to the corners and edges; a re-glued chip to one top corner.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
AFTER PIERRE LEPAUTRE (FRENCH 1660-1744), A LARGE BRONZE FIGURAL GROUP OF 'ANCHISES, AENEAS AND ASCANIUS'19TH CENTURY on a naturalistic square base, and on an associated mahogany pedestal of fluted tapering formthe bronze 92cm high, base 41.5cm wide, the pedestal 105cm high, top 48cm squareLePautre's work depicts the scene from the Aeneid where Aeneas carries his father, the elderly Anchises as he leads his son Ascanius from Troy, after it has been sacked by the Greek army. The V&A museum holds in its collections a signed and dated 1715 terracotta model of this composition- possibly a sketch model for a marble group of the same subject now in the garden of the Tuileries. LePautre had begun work on the marble group in Rome soon after 1691 while the artist was working at the Académie de France, but it was not finished until 1716 after his return to Paris. By repute he utilised a wax bozzetto after Girardon whilst working on this composition.An 18th century signed plaster model for this group, of comparable size to this bronze, was sold by Christie's, Milan, , 8th June 2004, Lot 446 (€43,400). For a similar smaller but signed example in bronze, see Bonham's, London, 12th February 2020(£6,937).Condition Report: Rubbing from handling, age and cleaning visible to most extremities- in some areas quite pronounced. Several of these have had amateurish attempts to cover them up. The surface throughout is fairly dirty and dusty. Stand with scuffed and marked top- some losses and knocks to corners and mouldings- some shrinkage cracks, Please see additional images which form part of this condition reportCondition Report Disclaimer
A LARGE BRONZE PUTTI AND SHELL WALL FOUNTAIN20TH CENTURYFlute playing putti fountain surmount above shell shaped basin, flanked by putti approximately 152cm high, 193cm wideCondition Report: Weathered and with all-over green verdigris patina, not plumbed in, boy surmount may require further work to attach properly- some surface abrasions to baseWEIGHT- too heavy for any of our scales! Took two strong and competent porters to move it so probably around 100-150kgCondition Report Disclaimer
A DUTCH WALNUT AND MARQUETRY BOMBE CHEST OF DRAWERS, the top with foliate and avine marquetry band within serpentine front and sides, above four graduated drawers, each with twin foliate cast bronze handles, above a foliate carved apron, flanked by projecting, canted serpentine angles to carved paw front feet,
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