A pair of early 19th century French gilt bronze herm busts of classical female musesin the Empire tasteeach modelled full face, their elaborately braided coiffures arranged in knotted cascading chignons, their curls arranged beneath floral bandeaus, their shoulders clad in drapery, on later Verde Antico moulded square shallow plinth bases, the busts probably original forming the outer finials to chenets, 30cm high (2)For further information on this lot please visit Bonhams.com
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A pair of French black patinated and gilt bronze three light wall appliquesin the Restauration stylethe multi-scrolling reeded candle arms with flared nozzles issuing from a lotus cast and flared central fitting, with acanthus lower collar and acorn finials and pineapple terminals, on scrolling and foliate cast bracket supports, fitted for electricity, 41.5cm high (2)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
A Napoleon III gilt bronze mounted mother of pearl and brass inlaid rosewood, ebony and parquetry bureau de damepossibly by Charles-Guillaume DiehlCirca 1870, mounted with putti, espagnolettes, shells, acanthus, flowers, scrolls and a central cabochon, inlaid with rosette embedded flowerhead trellis parquetry, the opposing and addorsed C-scrolled gallery above a bombe hinged fall enclosing a satinwood and amaranth lined interior with three drawers, and with bombe ends, on square section cabriole legs, 82cm wide x 49cm deep x 93cm high, (32in wide x 19in deep x 36 1/2in high)Footnotes:The offered lot was valued, upon behalf of the current owner and vendor's grandmother, by Simon Kaye Ltd, based in Piccadilly, London on 6 January 1981. A copy of this paperwork is available to view online.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A French late 19th/early 20th century gilt bronze mounted kingwood and bois satine parquetry table de chevetin the Louis XV styleOf shaped outline, the marble top with a mounted edge, above quarter veneered and cube inlaid sides, with two opposing hinged falls inset with mirror glass panelled undersides and enclosing a conforming interior, on keeled cabriole legs, 84cm wide x 55cm deep x 86cm high, (33in wide x 21 1/2in deep x 33 1/2in high)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
An early Victorian gilt bronze and porcelain mounted tulipwood and kingwood bonheur du jourin the late Louis XV style1850-1860, mounted with various Sevres style porcelain plaques, the superstructure comprising a central pierced galleried marble top above a door enclosing one shelf, flanked to each end by two short mahogany-lined drawers, over one shaped mahogany-lined frieze drawer, on cabriole legs, 93cm wide x 52cm deep x 115cm high, (36 1/2in wide x 20in deep x 45in high)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Joan Katherine Dummett (British, 1905-2005): A patinated bronze model of Britanniathe voluptuous female nude seated on a rocky outcrop, the base inscribed BRITANNIA with Alexis Rudier, Fondeur Paris foundry mark, and date 12.1926, 18cm high approximatelyFootnotes:Property from the collection of Joan Katherine Dummet, artist and sculptor (British,1905-2005)Joan Katherine Dummett was born in Crouch End, North London, the third of six children born to the lawyer Sir Robert Ernest Dummett and his wife Emma. In 1923 her mother took her and her four sisters, aged between four and twenty two on a grand tour of Europe which included visits to Paris, Munich and Garmisch-Partenkirchen. After arriving in Bordigherea in Italy, a town which was at that time known as an artist's community, her mother made enquiries to locate an artist who might teach Joan painting and sculpture as she had shown great artistic promise back in London. She was subsequently introduced to the artist and sculptor Jules van Biesbroeck (Belgium, 1873-1965) who agreed to take on the young Joan as a pupil. The pair got on very well and Biesbroeck was sufficiently impressed with her progress that when the family moved on from the town, Joan, then aged seventeen, stayed on, making regular visits to the artist and his family. Joan initially was chaperoned by and lodged with the nuns of the Convent Santa Chiara in the town before she finally became more independent and moved to the Hotel Bella Vista. Joan stayed in Bordigherea as van Biesbroeck's pupil for three years and he and his family later visited the Dummetts family in England for Christmas in 1923, and then at regular intervals up until the beginning of the second world war. In the three years after 1923, Joan sculpted a bust of an Italian peasant woman which was cast in Rome and then later exhibited at the RA and the Walker Art Gallery, Liverpool. However, in 1926 the teacher-pupil relationship was severed when van Biesbroeck decided to move to Algiers. Letters from Joan to her family from around that time, record that Biesbroeck invited her to visit him, but it is unclear if she ever did. In the intervening years van Biesbroeck maintained a prolific correspondence with Joan, although his letters record that the climate in Algeria did not agree with him and that he struggled to obtain artists materials.However van Biesbroeck continued to encourage Joan in her work during the 1920s and into the 1930s when she devoted her time between London and Paris. At this time Van Biesbroeck also spent time in Paris and met up with Joan during one of their visits. Their working relationship was cemented when the two exhibited together at the Gieves Gallery in London in 1931, showing paintings by Jules and sculpture by Joan. A copy of the exhibition catalogue is now archived in National Art Library at the Victoria and Albert Museum. A letter dating from the time just prior to the exhibition from Joan to her mother records that van Biesbroeck expressed the wish that their exhibition would be a great success. In the letter Joan also records that van Biesbroeck asked her to visit other earlier exhibitions at the same gallery to see if the usual attendance would give them sufficient exposure. However, she then goes on to record that he then chides her for being 'too in love' to remember to carry this out. This indeed turned out to be a correct prophecy as Joan married in late 1931 and then went on to have two sons in 1932 and 1933. Joan and van Biesbroeck continued to correspond until 1949 and she continued to work sporadically in sculpture and painting, mainly using family members as subjects, but she never exhibited publicly again. However, she channelled her artistic talents in nurturing the artistic potential of others, just as van Biesbroeck had for her, when she took up the post of lecturer and tutor in art and sculpture at the Sir John Cass College in London in the 1950s.For further information on this lot please visit Bonhams.com
A good late 19th century French gilt bronze and marble figural mantel clockthe dial signed Hartingue, a Paris, the movement stamped Etienne Maxant, Paristhe signed 4.25' enamel dial with outer Arabic numerals framing the Roman hours, signed in red enamel and with good pierced and engraved gilt hands, set in a bow fronted column flanked by a standing classical woman draping a garland of flowers holding a putto, on a bow-fronted ormolu-mounted base and cast feet, the twin train movement striking on a bell, 34cms highFor further information on this lot please visit Bonhams.com
After Albert Carrier-Belleuse (French, 1824 -1887): A silvered bronze figural group of two classical maidens and a puttothe former with elaborate coiffures and clad in draped robes, one holding a book, both leaning on a draped fluted pedestal column, the putto holding a flambe torch, the group raised on a breakfront bowed rectangular base, signed A.CARRIER, 53cm highThis 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
Emile Laporte (French, 1858-1907): A gilt bronze bust of a theatrical Belle Epoque ladyher head with high swept chignon looking to sinister on swept integral base, her shoulders clad in drapery with corseted bodice, sheet music and a theatrical mask to the base, inscribed E.LAPORTE and with Siot foundry pastille, and number L645, 23.5cm high approximately For further information on this lot please visit Bonhams.com
John Willis Good (British, 1845-1879): A rare patinated bronze equestrian model of a huntsman with his hounds and a foxthe dismounted figure crouching beside his horse, blowing his horn and gesturing with his riding crop, the hounds surrounding a fox, raised on a naturalistic canted base signed and dated J Willis Good 1872, 30.5cm high, 56cm wide, 29cm deep approximatelyFootnotes:John Willis Good is the leading English 'Animalier' sculptor of the 19th century century, whose work is comparable with the French 'Animalier' masters of the period. During his short but prolific career he concentrated on studies of hunting scenes, namely hounds and horses, with or without ridersSadly, at the age of 34, after only ten years exhibiting his work, he shot himself in his studio on the Fulham Road, London. Perhaps for this reason we know very little about him today other than he took a probationary course in the schools of the Royal Academy and later studied under the celebrated Austrian born sculptor Joseph Edgar Boehm Boehm (1834-1890). Between 1870 and 1878 he exhibited sixteen pieces at the Royal Academy and on one occasion collaborated on a work with Charles Lutyens, himself a well-known sporting painter who also produced several sculptures.Willis Good's sculptures were justifiably popular during his lifetime and were edited in bronze, sterling silver and silver-plated bronze, often by Elkington & Co. of Birmingham. His last work was a series of studies of hounds, and he became increasingly interested in the patination of his work which he began to carry out himself.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Jonathan Knight (British, b. 1954): A bronze equestrian group of 'Returning Home'the huntsman turning to look at the two hounds by the right back flank of the horse, the whole raised on naturalistic oval base, signed and numbered KNIGHT 7/9, 37cm high overallThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Alfred Adrian Jones MVO (British, 1845-1938): A patinated bronze equestrian group of a huntsman and two houndspossibly cast by Elkington & Co.the seated rider blowing his horn, one hound leaping over a small fence, the other before the horse, on naturalistic rectangular base, the rear signed and inscribed AJA and ELKINGTON&CO,, 50cm high, 47cm wide, 23cm deep approximately overallFootnotes:Adrian Jones was a British sculptor and painter who specialised in the depiction of animals, in particular horses. Born in Ludlow, Shropshire, he studied at the Royal Veterinary College, London and in 1866 he qualified as a veterinary surgeon. The following year he enlisted in the Army as a veterinary officer in the Royal Horse Artillery with whom he served between 1867 and 1890. After an illustrious military career, travelling extensively and serving overseas, Jones retired in 1891 with the rank of captain. By this time, he was already active as an artist, having exhibited at the Royal Academy as early as 1884. In 1891 he married and moved to 147 Church Street, Chelsea where he built an art studio in the garden.In 1888 Jones received his first formal commission, to sculpt the outstanding racehorse Ormonde, a triple crown winner, from the Duke of Westminster. The quality and success of this first commission ensured that he attracted the patronage of other horse owners and he soon became nationally renowned as an equestrian sculptor of some of the Turf's greatest racehorses. His training as a veterinary surgeon also gave him a deep knowledge of equine anatomy which he used in his work with great success.Throughout the course of his artistic career Adrian Jones undertook many public monumental commissions, most notable of which is perhaps 'Peace descending on the Quadriga of War' on top of the Wellington Arch at Hyde Park Corner in London.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Pierre Jules Mêne (French, 1810-1879): A patinated bronze figural group 'Groupe chiens en défaut (Valet Louis XV)'the young royal huntsman holding a tricorn hat in his right hand, his bugle resting on his shoulder, looking down on two hounds below his horse, raised on an oval naturalistic base, signed P. J MÊNE, 42cm high, 46cm wide, 21cm deepFootnotes:Pierre-Jules Mêne is perhaps the most famous animalier sculptor after Barye, and his hunting groups are consistently the best among the genre. Number 6 in Mêne's catalogue, Valet de chasse Louis XV is one of four groups by Mêne incorporating a Royal huntsman. The present model differs from the other examples, in that the huntsman is shown gesturing the hounds forward with his hat in hand. Mêne's inspiration was no doubt the historical revival of the Louis XV style fashionable during the 1860s.Literature:M. Poletti & A Richarme, Pierre-Jules Mêne 1810-1879 : Catalogue raisonné., Paris 2007, p.30.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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
Lome McKean (British, b.1939): A patinated bronze equestrian model of a jockeythe rider seated on horseback twisting to one side, raised on a naturalistic oval base, signed Lome Mckean and inscribed 7/9, 1970, 27.9cm high overallThis lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP 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
After Pierre Jules Mêne (French, 1810-1879): An associated pair of patinated bronze plaques of gameboth of rectangular form, one depicting a snipe perched on a dead game above beside a net and bull rushes, the other a dead hare, a skate and a trout, the first bearing signature P J Mêne, the other indistinctly signed, 24.5cm high x 12.5cm wide (2)For further information on this lot please visit Bonhams.com
A late 19th century gilt bronze mounted Sèvres-style porcelain encrierof oval boat-shaped form on anthemion paw footed feet, fitted two receivers and covers with gilt bronze liners, the porcelain painted with oval reserves of exotic birds enamelled in colours within gilt foliate borders reserved of a rose Pompadour ground, 15cm high overall approximatelyFor further information on this lot please visit Bonhams.com
A mid 19th century French gilt bronze and Pâte-sur-pâte style porcelain inset jardinierein the Louis XV taste, the porcelain roundel in the manner of Marc-Louis-Emmanuel Solon of lobed and swept inverted breakfront trough form, cast with fruiting vines and wheat sheaves, flowers and foliage, the central porcelain roundel depicting a seated classical maiden as an allegory of music on cobalt blue ground, on acanthus scrolling pierced footed support, the interior fitted a lit out brass liner, the underside with various punched factory numbers, 20cm high, 72cm wide, 27cm deepThis 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
A very rare late 19th century Japanese brass Dai-Dokei with side-pendulum and engraved dial platesurmounted by a heavy bronze straight-sided bell mounted on a turned brass post set on the overhanging brass top plate, the shaped rectangular dial plate engraved with scrolling foliage around the rotating 3.5'' twenty-four hour dial now marked in Roman hours twice I-XII, subdivided into ten minute divisions, with brass alarm setting hand and elaborately pierced stationary hour hand, the weight-driven birdcage movement with twin vertical verge escape wheels and double-sided pallets, each wide swing of the crutch (pendulum now lacking) acting on alternate wheels, with trains of four wheels, each wheel of brass and with solid centres to steel high-count pinions, the striking train with solid brass toothed count wheel striking the hours, 1-12 on a vertical hammer, governed by a four-vane fly, 27cms highFootnotes:Japanese lantern clocks belong to a larger group of traditional Japanese clocks known as Wadokei. Within the category of 'lantern clock' are various sub-divisions, including Dai-dokei which are lantern clocks that were displayed under a hood on a specially made four-legged stand, Yagura-dokei a lantern clock on a pyramidal prism stand and a Hashira-dokei the closest to a European lantern clock, which would sit on a wood wall bracket, occasionally with a hood. It is difficult to say definitively which category this clock belongs to as it does not have a stand or bracket with it. However, it is clear from examining the movement that it is not missing any side doors, which suggests that it would have been covered by something to protect it from the elements. Furthermore, as it has a four wheel train it is considered to be a larger clock, by Wadokei standards, which means it is unlikely to be hung on a wall; most Japanese house walls at this time were made of light wood and paper, with the exception of the central wooden beam which supported the structure. Considering these two factors, this clock can be tentatively classified as a Dai-dokei, though this remains conjecture.This is likely to be a transitional clock; beginning in 1873 Japan converted their national time system from temporal hours to equally divided hours. Before this date, most clocks made in Japan had dials and striking that reflected a day being variably divided into six toki during the day, and six during the night. The exact length of the toki would vary depending on the season; however, there would always be six divisions in both day and night. The numbers used to refer to each toki were a sequence from 9-4 with 9 representing midnight, 6 representing dawn down to 4, before repeating the sequence with 9 representing midday and 6 representing dusk. The numerals would be represented by animals as well, with twelve animals used so that in conversation 'the toki of the Horse' clearly referred to 9 during the day (or Noon), whereas 'the toki of the Rat' was 9 during the night (midnight). In order to display this on a clock dial a foliot escapement was used which could be regulated to go faster or slower depending on the day; double foliots were created as well with automatic, cam-assisted switch over between the daylight rate and the night time rate. Clocks without foliot escapements would be provided with moveable hour plaques, which could be pushed manually or mechanically around the chapter ring as the season dictated.In 1875, the first clock factory opened in Japan, primarily making American-type domestic clocks, all with uniform hours. Before this point, all clocks in Japan had been made by individual clockmakers; there was no wholesale 'rough movement' industry either, so generally one craftsman would create a clock from metal plate and rod, perhaps spending a year making each one. This accounts for the unique qualities of the clocks made before 1875; although they look similar, no two are interchangeable. This clock has a pendulum movement and vertical double crown wheel escapement, which is occasionally seen pre-1873, but a fixed Roman numeral chapter ring as well as a standard 12-hour count wheel, both features which were not seen until after 1873. However, the spring finger on the striking detent which connects with the hour pin on the back of the revolving dial is a pre-1873 construction, as is the traditional bell with its thickened inner rim. It seems likely that this clock was made circa 1873, having a combination of older and newer features, looking similar to other earlier clocks, but using the new system of time display. That it is a fully brass movement and has a fixed hour hand with a revolving dial, suggests it is at the later end of the Wadokei timeline.Provenance-Sold in these rooms 12 December 2018, Lot 101Strachan, A. (2014) 'Japanese Clocks,' Horological Journal, Volume 156 (9), pgs. 394-398 (Accessed 9 May 2022).Ward, F. A. B. (1956) 'Informal Meeting', Antiquarian Horology, Volume 1 (11), pgs. 169-170 (Accessed 9 May 2022).Strachan, A. WADOKEI.ORG: Sharing a passion for Japanese Edo Period Clocks. Available at: https://wadokei.org/ (Accessed 9 May 2022).Japan Clock & Watch Association (2022) History of the Japanese Horological Industry. Available at:https://www.jcwa.or.jp/en/etc/history01.html (Accessed 9 May 2022).For further information on this lot please visit Bonhams.com
A pair of late 19th/early 20th century French gilt bronze and biscuit porcelain four light figural candelabrathe three acanthus scrolling arms with foliate urn nozzles, each centred by a corresponding nozzle with leafy collar, raised on knopped acanthus central stems, the figural porcelain supports formed as twin classical maidens flanking drapery, raised on fluted half column pedestals with moulded fruiting vine borders, the circular plinths mounted on toupie feet, 63cm high (2)For further information on this lot please visit Bonhams.com
A pair of late 19th/early 20th century French gilt bronze mounted rouge marble pedestal garniture urnsthe squat shouldered bulbous pedestal bodies with twin putto head handles, the swept socles with laurel wreath mounts, on shallow square plinth bases, 25cm high overall (2)For further information on this lot please visit Bonhams.com
A pair of George III gilt bronze and cut glass twin branch lustre candelabrapossibly Scottishthe central acorn shaped finials flanked by thistle-shaped nozzles issuing from dragon-form branches, the drip-pans hung with drops and lustres, each raised on a baluster and circular spreading foot, 36cm high (2)Footnotes:ProvenanceAcquired from W.R. Harvey & Co. (Antiques) Ltd.For further information on this lot please visit Bonhams.com
A Charles X gilt bronze and abalone shell mounted 'Palais Royal' scent bottle casketcirca 1830of rectangular form, the foliate cast panelled frame with griffin cast corners, the lid with pierced scrolling outer rim with laurel wreath mounts, on paw feet, the top inset with a large floral engraved mother of pearl oval panel within four shaped border panels, the sides inlaid with similar smaller oval panels flanked by shaped rectangular panels, the interior with mirrored lid and divided interior fitted six diamond cut glass square section scent bottles and stoppers some stoppers as found, 8.5cm high, 18cm wide, 13cm deep (5)For further information on this lot please visit Bonhams.com
A pair of Chinese porcelain Ge-type bottle vasesmounted as oil lamp bases, the porcelain and French fittings, 19th centuryeach covered in a glossy crackled cream glaze, mounted with patinated bronze Buddhistic style lions mask ring handles, the necks with scrolling mounts and regulator burner fittings, on corresponding footed bases, the porcelain, 28cm high (2).For further information on this lot please visit Bonhams.com
Two gilt bronze mounted pate sur pate celadon porcelain vase lamp baseslate 19th century and laterone decorated with floral sprays, the other with a deer and maiden with lyre, with cream shades, 68cm high (2)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
A pair of late 19th century French gilt bronze figural four light garniture candelabrain the Louis XVI style, the figures in the manner of Claude Michel (French, 1738-1814) known as Clodionthe two pairs of asymmetric fruiting acanthus scrolling arms with urn nozzles and beaded drip pans, supported by infant satyrs, on elaborate circular pedestal bases, with floral cast garlands, laurel wreath borders and scrolling side pieces, 51cm high overall (2)Footnotes: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
A late 19th century French gilt bronze and Sèvres style inset porcelain figural mantel clockin the Louis XVI style, the movement stamped J T Paris and numbered 84the architectural case with Bleu Celeste and floral enamelled porcelain inset panel decoration, the 3.5' Roman dial within laurel wreath fronds below a flambeau finial above a central oval panel depicting a courtly figures within a rustic landscape flanked by twin columns and draped seated putti, the elaborate base with fringed lambrequin panels enamelled with floral vases and a central putto on toupie feet, the brass twin train movement with Brocot type escapement striking on a bell, 48cm high overallThis 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
Mathurin Moreau (French, 1822 -1912): A patinated bronze figure of 'Venus au Bain'the figure seated on a rustic outcrop, with loose trailing hair, her semi-clad body partially covered by flowing robes, her head turned to dexter, clutching a posey in her right hand, raised on integral naturalistic base, signed Moreau Math hors concours, 47cm high overall approximatelyThis 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
A late 19th century French patinated bronze figure of a Classical maidenin the manner of Jean Jacques (called James) Pradier (French, 1790-1852)the figure clad in classical drapery and headdress, leaning against an ivy entwined rustic wall, on bow-fronted moulded base, and corresponding black marble shallow plinth, 47.5cm high 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
A late 19th century French patinated bronze and marble figural mantel, the figure after Jean-Jacques, called James, Pradier (Swiss, 1790-1852)the movement stamped Richond F. A. Paristhe rectangular black and variegated marble case surmounted by a figure of Terpsichore holding her lyre & plectrum before a wellhead signed J PRADIER, on naturalistic base, the 3.5' enamel dial with Roman numerals, on plinth base, the brass twin train movement with outside countwheel striking on a bell, with pendulum, 52.5cm high 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
A pair of 19th century French gilt bronze and white marble cassolettesin the Louis XVI stylethe ovoid bodies with domed covers with fruiting knopped finials reversing to fluted cylindrical candle nozzles, the swept tripod supports with scrolling horned Bacchus mask terminals, united by floral garlands and milled central collars on cloven hoof feet, raised on stepped circular plinth bases with beaded borders and toupie feet, 27cm high overall (2)For further information on this lot please visit Bonhams.com
Charles Valton (French, 1851-1918): A patinated bronze model of a lionessthe recumbent cat on a rockwork base, signed Valton and with E.Colin & Cie. Paris foundry stamp, raised on a rectangular red marble base, 14cm high, 24cm wide overallFor further information on this lot please visit Bonhams.com
A pair of late 19th / early 20th century French gilt bronze mounted Sevres style porcelain pot-pourri vasesthe white bodies with painted latticed rose and green leaf recurring motif, the laurel socle base, raised on re-entrant cut corner plinth bases, both with covers with acorn finials and separate pierced foliate collars, 28cm high overall approximately (2)For further information on this lot please visit Bonhams.com
An early 20th century French gilt bronze and marble figural boudoir mantel timepiece garniturethe timepiece modelled as a winged putto holding a drum aloft housing the 2' floral enamel Arabic dial, the spring driven movement with vertical platform escapement, raised on an oval marble plinth with foliate panels and toupie feet, the satyr twin branch garniture candelabra on circular bases, 24cm high (3)For further information on this lot please visit Bonhams.com
Eugen Marioton (French, 1854-1925): A patinated and parcel gilt bronze figure entitled 'L'Inspiration (Inspiration)'the winged classical female holding a stringed lyre in her upheld left hand, standing on a swirling base, signed within the cast Eug. Marioton, and with quill and titled scroll plaque to the socle base inscribed L'INSPIRATION, 94cm highThis 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
Hippolyte Francois Moreau (French, 1832-1927): A patinated bronze figure of 'The Song of the Lark'formed as a rustic maiden sitting on a tree stump listening to the song of the bird, on circular base, signed within the cast H. Moreau, 69cm highThis 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
Mathurin Moreau (French, 1822 -1912): A patinated bronze figure of a young girl holding a birdthe semi clad figure seated on a rustic outcrop, her hands held up with the bird perched in her right hand, her head turned to dexter, on naturalistic base, signed Moreau Math, Susse Freres Paris, 60cm high overallThis 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
Emile Laporte (1858-1907): A patinated bronze figure of Actaeonthe semi-clad male figure holding a bow in one hand, a quiver at his feet, on naturalistic circular base, signed within the cast E.LAPORTE and with Siot-Decauville Fondeur PARIS foundry mark, 84cm highThis 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
Pablo Curatella Manes (Argentinian, 1891-1962): A bronze plaque depicting 'Lancelot and Guinevere'the stylised figure of Guinevere with long flowing hair embracing the kneeling figure of Lancelot, signed Manes to the top left hand corner, the side with Valsuani Paris, foundry mark to one corner, dark brown patination, 28.4cm x 20cmFootnotes:Provenance:Collection of Michael Black, sculptor (British, 1928-2019), thence by descent. Amongst many commissions, Black sculpted the Oxford Sheldonian Emperors' heads, the bronze busts of former prime ministers Sir Alec Douglas-Home and Sir Harold Macmillan, as well as portrait subjects in the National Portrait Gallery and private collections.A larger terracotta plaque measuring 65cm x 43cm of the same subject, possibly from the estate of Manes and recorded as being executed by the sculptor in 1925 was sold Christies New York, Latin American Sale, sale 1841, 1st June 2007, lot 191 ($19,200 including buyers premium). The present lot is a bronze reduction of this same subject, cast by the prestigious Valsuani foundry in Paris, presumably as a limited edition in the late 1920s or early 1930s. The inspiration for the subject of Lancelot and Guinevere presumably comes from the French origins of the Arthurian legends and texts, which were derived from the medieval writer Chretien de Troyes who penned the quintessential romance 'Le Chevalier au lion'.Pablo Curatella ManesBorn in Buenos Aire, Manes' interest in sculpture was most likely fired as a child by frequent visits with his mentor Arturo Dresco to the then newly opened La Plata Fine Arts Museum. Enrolling at the National Fine Arts School in 1907 he was subsequently expelled due to bad behaviour but still managed to secure an apprenticeship in 1908 under Lucio Correa Morales. Manes later travelled extensively in Europe, spending time in Florence and Rome before having his first exhibition in Buenos Aires in 1912. He returned to Europe, settling in Paris before the outbreak of the First World War, but was forced to return to Argentina. However in 1917 he secured a scholarship in Paris under Maillol, Maurice Denis and Paul Sérusier. A second scholarship in 1920 allowed him to permanently settle in the city where he studied under Henri Laurens, Juan Gris, Constantin BrâncuÈ™i and Le Corbusier. It was during this period that Manes explored Cubism and his sculptures became noticeably more 'avant-garde'. Manes married the French painter Germaine Derbecqre in 1922 and in 1926 took up a post at the Argentine Embassy. He was subsequently commissioned to create wall reliefs for the Argentine Pavilion in the 1937 Paris Exhibition and his monumental 'Tierra Argentina' and 'Los Dos Hemisferios' ('Argentina' and 'The Two Hemispheres') won him a place on the Paris Exhibition's sculpture jury. After this he was made an Officer of the Légion d'honneur. During Manes' diplomatic tenure he re-instated the Salon des Indépendants, which had been banned under the Vichy regime. In 1949 he was transferred from Paris to the Embassy in Athens before finally returning to Buenos Aires, where he died in 1962, aged 70.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
Jonathan Knight (British, b. 1959): A patinated bronze model of an ospreythe predatory bird perched on a rocky outcrop, signed and numbered KNIGHT 4/9, 40cm high overallThis lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP 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
Sir William Hamo Thornycroft, British (1850-1925): A patinated bronze figure of 'The Iron Age'the male figure depicted in labourer's dress in contrapposto stance, a pick held over his left shoulder, raised on square base, signed and dated to the top of one corner Hamo Thornycroft 1907, the opposing corner inscribed and numbered HT 1302(?), the side of the base with title THE IRON AGE, 34.5cm highFootnotes:The figure of 'Iron Age' comes under the umbrella of 'New Sculpture,' of which Thornycroft was a leading light. The idea of 'realism' was a recurring one that preoccupied the sculptor and which is reflected in his work. The New Sculptors tried to find ways to bring the sculptural body to life making it appear life-like without wishing to make it a 'display of flesh.' This tension is apparent in much of Thornycroft's with the figure of the 'Mower,' and the present lot being prime examples . In 1885 Thornycroft gave a lecture at Royal Academy where he commented that the 'considerable and sustained advance of sculpture' was due to, in part, to 'the closer study of nature.'LiteratureD. Getsy, The Problem of Realism in Hamo Thornycroft's 1885 Royal Academy Lecture, The Walpole Society 69 (2007): pp. 211–25.For further information on this lot please visit Bonhams.com
An early 20th century gilt bronze and painted ivorine desk timepiece together with an Austrian cold painted bronze model of horsethe timepiece of square form with easel back, the 3.25' brass chapter ring set in a plain mask, the centre painted with an equestrian scene of a huntsman jumping a hedge, three hounds to the foreground, with keyless spring driven movement, the grazing horse naturalistically modelled and enamelled, the timepiece 10cm high overall, the horse, 14cm high (2)For further information on this lot please visit Bonhams.com
A matched late 19th century French gilt bronze clock garniturethe clock in the Louis XV stylethe elaborate waisted cartouche case cast with acanthus foliate scrolls and flowers, the top surmounted with fruiting acorn leaves, the integral scroll footed platform base with rocaille and foliate apron, the 4' enamel Roman dial with outer five minute Arabic track, the brass twin train movement with Brocot type escapement striking on a bell, with pendulum and winder, the four light gilt bronze and black slate four light three branch candelabra with cusped column supports, (3)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
Henri Dasson (French, 1825-1896): A pair of late 19th century gilt bronze dwarf figural candelabrathe acanthus and floral cast nozzles issuing from two corresponding arms, supported by central infant satyrs, raised on swept socle and re-entrant shallow plinths, signed H.D, 18cm high approximately (2)For further information on this lot please visit Bonhams.com
A pair of early 20th century French gilt bronze mounted Sevres style porcelain garniture vasesin the Art Nouveau tastethe slender ovoid bodies with applied scrolling twin handles painted with stylised maidens and blooms on an iridescent pale yellow ground, the narrow flared necks with beaded collars and detachable knopped covers, the pedestal bases on re-entrant cut corner bases, 37cm high (2)For further information on this lot please visit Bonhams.com
A pair of late 19th century French gilt bronze garniture urnsthe twin handled bodies cast in relief with scenes of cupid riding a chariot pulled by dolphins and swans and fruiting acanthus foliage on socle bases, each raised on a Verde Antico fluted and moulded octagonal plinth, 22cm high approximately (2)For further information on this lot please visit Bonhams.com
A pair of late 19th century gilt bronze mounted Sèvres-style porcelain vases and coversthe bodies signed M. Guillou, the covers signed M. Imple de Sevreseach of slender baluster pedestal form decorated with Napoleonic battle scenes, a capital N in raised gilding between a laurel wreath at the foot and an eagle within a laurel wreath at the neck, the domed covers with gilded crown and bee insignia and acorn finials, one cover now broken as found, 55cm high (2)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
Catharni Stern (British, 1925-2015)Shepherd and two sheepsigned, numbered and dated 'Catharni Stern 1/1 1989' (to side of base) bronze with a dark brown patina on wooden base 27.6cm (10 7/8in) high (including base)Footnotes:ProvenanceWith Tom Caldwell Galleries, Dublin.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
Charles Rene de Saint-Marceaux (French, 1845-1915): A patinated bronze figure of a Harlequin the standing masked figure clad in his Commedia dell'arte costume with crossed arms, on faux wooden boarded stage base, signed and dated Saint-Marceaux 1879 and with Reduction Mecanique, A Collas, Breveil pastille, the rear inscribed F. BARBEDIENNE, Fondeur, Paris and numbered 125, now lacking slapstick, 51cm high Footnotes:René de Saint-Marceaux was the son of a Reims wine merchant. He entered the Ecole des Beaux-Arts de Paris under the tutelage of Jouffroy, exhibiting at the Salon of 1868, studying later in Italy. Considerable success followed, and he was awarded gold medals at the Paris Exposition Universelle of 1889, having been elected as a Chevalier to the Legion d'Honneur in 1880, and later becoming an officer. His public Parisian works may be seen in the Champs-Elysees (Alphonse Daudet the noted novelist) and Alexander Dumas fils, in Montmartre and the Louvre. This Harlequin figure can be seen in Reims Museum, and Bucharest Arts Museum.Literature:Benezit, E. Dictionnaire Critique & Documentaire Des Peintres Sculpteurs Dessinateurs & Graveurs 14 Volumes. France: Grund/Hilmarton Manor Press, 2006, Vol XII.Berman, Harold. Bronzes, Sculptors and Founders 1800-1930, 3 Volumes. Chicago [Ill.]: Abage, 1977. Vol II, p. 333.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
Professor Antonio Garella (Italian, 1863-1919): A sculpted alabaster, bronze and marble bust of 'Posie'the young bare shouldered maiden looking to sinister, her hair dressed 'a la grecque' wearing a laurel wreath, the rear signed P. Garella, the canted yellow veined shallow plinth base with applied bronzed metal presentation plate entitled POSIÉ, 27cm highFor further information on this lot please visit Bonhams.com
A pair of late 19th century patinated bronze garniture urns cast as models of the Warwick vasesthe pedestal bodies with lion pelt and mask-head decoration in high relief and elaborately entwined handles, each raised on a waisted circular fluted socle base, supported on stepped black marble square plinths, raised on paw feet, 20.9cm high overall (2)For further information on this lot please visit Bonhams.com
A late 19th/early 20th century Italian patinated bronze figure of Venus de Medici after the antiqueprobably Naples the nude goddess standing beside a dolphin with two putti, on circular base with typical dark green / black patination, 78cm high Footnotes:The Venus de' Medici or Medici Venus is a monumental Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite dating from the 1st-century BC, although it is most likely a copy, perhaps made in Athens, of an original bronze Greek sculpture, following the type of the Aphrodite of Knidos. The sculpture was originally recorded in 1638 at the Medici Villa, Rome and is now in the Uffizi in Florence, Italy.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
After Giambologna (Flemish Italian, 1529-1628): A late 19th century patinated bronze figure of Mercurystanding above a mask head cast as Zephyr, raised on a cylindrical marble pedestal and shallow square plinth, 74cm high overallThis 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
A French late 19th/early 20th century gilt bronze and malachite low gueridon or small centre table1885-1905, the circular malachite veneered top on a reeded column interspersed with acanthus collars, above a circular foliate and bulrush cast knop, surmounted by three standing water putti, terminating in a shaped concave tripartite base surmounted by three rearing hippocamps, approximate diameter of the top: 57cm; 64cm high.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
A bronze inkwell, two patinated bronze plaquettes and a silvered bronze figurethe inkwell and the plaquettes, 17th-19th century, the figure 20th centurythe inkwell, probably Flemish, of circular form, the body cast with four lions mask heads to a foliate frieze, on bun feet, the larger plaque, probably Russian, depicting Christ and the apostles, the smaller, perhaps Italian or Flemish, depicting the Virgin and Christ child, the figure depicting a naked youth, the inkwell 8.9cm high, the plaques 13.5cm high and 9.5cm high, the figure 16cm high (4)For further information on this lot please visit Bonhams.com
Attributed to Raffaele Monti (Italian, 1818-1881): A pair of third quarter 19th century white marble busts of Milton & Shakespearethe former modelled full face with long curling hair, lace trimmed tassel tied collar and draped shoulders, the later looking slightly to sinister wearing a tassel tied lace trimmed shirt and drapery, both apparently unmarked and raised on turned moulded circular socles, 51cm high overall approximately (2)Footnotes:Born in Milan, Raffaele Monti (sometimes mistakenly misspelt as Rafaelle or Raffaelle) was a sculptor, author and poet.Training under his sculptor father Gaetano Matteo Monti and at the Imperial Academy in Milan, he was invited to Vienna in 1838/9 where he cultivated extensive patronage before returning to Italy two years later. In 1846, Monti travelled to England for the year, before making the decision to move to the country permanently. He exhibited at the Royal Academy and gained a favourable recognition as a leading sculptor with his acclaimed work for the 6th Duke of Devonshire, the 'Veiled Vestal' which featured an illusionistic veil which became a specialism of his. A bust based on this work subsequently cast in 'statutory' porcelain (now known as Parian) by Copeland entitled 'The Bride' but often known as 'The Veiled Bride', was produced in larger numbers from 1861 by the (Crystal Palace) Art Union. This became one of the most popular subjects in the medium of Parian and Parian style porcelain, and is now widely associated as one of the most typical examples of the decorative arts of mid Victorian Britain. Monti produced in marble, bronze and porcelain, while remaining active in the applied arts until his death in 1881.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP 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

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