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Lot 1173
Carteluhr im Louis-XV-Stil Frankreich, E. 19. Jh. Bronze, vergoldet. Seitlich vergittertes Kartuschengehäuse mit Rocaille- und Blütendekor. Durchbrochene Bekrönung. Pendeleinblick. Zifferblatt Email mit röm. Zahlen und arab. Minuterie (rep.). Hakenhemmung. Halbstundenschlag auf Glocke. Sonnenpendel. H. 38 cm. Frankreich, E. 19. Jh. (56466)
Lot 745
Ein Paar Vasen mit Bronzemontierung 19. Jh. Kristallglas, geschliffen, vergoldete Bronze. Kelchförmiger Vasenkorpus auf kurzem Trompetenschaft und oktogonalem Stand. Die vielfach geschälte Kuppa mit breitem, gesteineltem Band. Die Montierung mit umlaufenden Blattfriesen und guillochierten Bändern. H. 22 cm. (59215)
Lot 1019
Japan, um 1900. Komai Stil. Eisen mit Goldeinlagen. Dorfansicht in Medaillon. D 15 cm. - Rostspuren und stark berieben. / Eisen oder andere Metalllegierung, teilweise vergoldet und rot bemalt. Signiert. Reliefierte Darstellung der Nô-Theater-Szene Kokaji. D 18,5 cm. - Rostspuren. / Bronze, teilweise vergoldet und bemalt. Signiert mit vier Siegelschriftzeichen. Reliefierte Darstellung der Shintôgottheiten Fûjin und Raijin. D 18,5 cm. - Rückseite graviert. Berieben.
Lot 1094
China, 1.Hälfte 20.Jh. Halbkugelförmige Glocken aus Bronze, teilweise rot emailiert und ziseliert mit Drachendekor. Durchbrochen geschnitzter Holzrahmen mit Blumen- und Vogledekor. D 13, 15,5, 18, 21,5 und 24 cm (Glocken), 136x72,5 cm (Rahmen). - Holzlack zum Teil berieben. Minime Dellstellen auf den Glocken.
Lot 1096
China, frühe Zhou-Dynastie. Bronze. Bauchiges, schweres Becken mit breitem Rand auf drei Füssen. Wandung ganzflächig reliefiert mit abstrahiertem Drachendekor, punktuell erheben sich kleine Noppen. Die Wandung wird unterteilt von sechs kräftigen, gekerbten Graten. Schöne malachitgrüne Patina, stellenweise mit silberfarbener Oberfläche. H 13,3, D 17,7 cm. - Ein Bein geklebt.
Lot 105
Rory Breslin (b.1963)St. Patrick MaskBronze, 83cm x 39cm (32½ x 15¼")Edition 2/3St Patrick's Mask is an enlarged bronze interpretation of the stone depiction of St. Patrick guarding the East entrance of the Chapel Royal in Dublin Castle.Based on the original work in Portland stone by John Smyth, who also carved the renowned river keystones on the Custom House in Dublin,St. Patrick is paired with that of the head of Brian Boru at the entrance of the Chapel.The Chapel Royal in Dublin Castle was designed by the renowned architect Francis Johnson and was opened on Christmas Day 1814 by theKing's representative in Ireland, Lord Lieutenant Whitworth.
Lot 48
Les Dawson (1931 1993) English comedian, actor, writer, and presenter, who is best remembered for his deadpan style, curmudgeonly persona and jokes about his motherinlaw and wife. On 23 October 2008, 15 years after his death, a bronze statue by Graham Ibbeson was unveiled by his widow Tracy and daughter Charlotte in the ornamental gardens next to the pier in St Anne'sOnSea, Lancashire, where Dawson lived for many years. In a threehour comedy program on Channel 4 on 1 January 2005, Dawson was ranked as the 37th in the top 50 comedians of all time, voted by fellow comedians and business insiders. A signed black and white photograph approximately 10 inches x 8 inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 26
Fernando Botero (B. 1932)Gatta 2008 incised with the artist's signature, numbered 4/6 and stamped with the Fonderia Artistica Versiliese Italy markbronze22.5 by 65 by 28.4 cm8 7/8 by 25 9/16 by 11 3/16 in.This work was executed in 2008, and is from an edition of six numbered versions.Footnotes:ProvenanceGary Nader Fine Art, MiamiAcquired directly from the above by the present owner in 2008LiteratureGary Nader Editions, Fernando Botero. The Grand Show. Paintings, Drawings & Sculpture, Miami 2010, n.p., illustrated in colourRenowned for his voluptuous and exaggerated paintings, sculptures and drawings, Fernando Botero is arguably one of the most important Colombian modern artists and certainly the most recognisable. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, while painting an image of a mandolin resting on a table, Botero placed a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work is an inimitable take on one of art history's most universal icons—the cat. Cats feature in much of Botero's work, but especially in his monumental sculptures which are well-loved features in parks and city centres around the world. Whilst in his paintings, cats often accompany a dominant matriarch or a sensual nude and symbolize femininity and domesticity, they are often the sole protagonist in sculpture. One of Botero's most famous felines resides at the end of Barcelona's Rambla del Raval where the colossal endearing statue has become an integral part of the neighbourhood and a well-cherished tourist attraction. Other works by the artist are presently held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Museo Botero in Bogotá which is dedicated to the artist and his oeuvre. In 1958 and 1992 Botero participated in the Venice Biennale and represented Colombia in the 5th São Paulo Biennial, Brazil. He has had major retrospectives at the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1979); Seibu Museum of Art, Tokyo (1981); Museo Nacional Centro de Arte Reina Sofía, Madrid (1987); Museo de Bellas Artes, Bilbao (2012); and many others. Revered and admired for centuries of human history, the cat has inseparably woven its way into the canon of art history without ever losing any of its charm or appeal. From ancient Egyptian tomb adornments and centuries of Chinese and Japanese artistic practice all the way to the exotic markets of 19th century orientalist paintings and French impressionist living rooms the cat has been and still is a firm feature in many of the worlds most revered artistic masterpieces. Today, in the age of the internet and social media, no animal captivates audiences quite like the humble house cat and the subject is more accessible, one might even say more popular than ever.Fernando Botero would not have been ignorant to the wide and varied depiction of felines in art throughout the ages. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Deeply influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, to pay homage to the great artists of the past and finding a gateway to true originality whilst doing so. Gatta from 2008 is a particularly beautiful example of Botero's many reinterpretations of this perennial theme. Whilst it incorporates elements of the elegant goddesses and playful street pranksters that preceded it, Botero's Gatta is extremely topical and modern for it can be best described with one of the most universally used adjectives in 21st century popular culture- it is quintessentially 'cute'. Executed in Botero's distinctively rotund signature style, the curvaceous head, body, limbs and tail of the reclining feline give it a monumental quality. Sphinx like she resides elegantly on her plinth, head lowered attentively, ears pricked forwards, keenly aware of her surroundings. The swift flash of her tongue gives Gatta a more playful, accessible quality than its divine Egyptian forebears and captures its distinctive character. Humorous elements such as this are a common and important feature within Botero's formally refined plastic oeuvre. He breaks with the established tradition of sculpture, bronze traditionally being used to eternalize the classically heroic and brave, and instead memorializes the humble and happy house cat. Like Manet with his Olympia, Botero shifts the classical muse, the deity of centuries past into the realm of the common and trivial, the realm of day-to-day life which makes it so much more endearing.The present work is sold to benefit the Fondation Bernard et Caroline de Watteville to support cultural and humanitarian actions in Switzerland and abroad.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 9
Barry Flanagan (1941-2009)Harebell on Portland stone piers 1983 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5bronze and stone289.5 by 246.3 by 172.7 cm.114 by 97 by 68 in.This work was executed in 1983, and is from an edition of five numbered versions and three artist's casts.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, UKSelling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2005Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Groups VII, 1984, the present example exhibitedStockholm, Moderna Museet, Dialog, 1985Brussels, Galerie Xavier Hufkens, Barry Flanagan, 1999London, Waddington Galleries, Memorial Exhibition, 2009London, Waddington Galleries, Barry Flanagan: Works 1966-2008, 2010London, Waddington Galleries, Two Pataphysicians, 2014Denver, Denver Botanic Gardens, Stories in Sculpture: Selections from the Walker Art Center Collection, 2016New York, Kasmin Sculpture Garden, Barry Flanagan, 2020-2021Yerevan, Armenia, Cafesjian Center for the Arts, 2005-2020, the present example on permanent displayWalker Art Center, Minneapolis, Minneapolis Sculpture Garden, 1986- present, another example on permanent displayLiteratureMartin Friedman and Marc Treib, Minneapolis Sculpture Garden, 1988, Minneapolis 1988Marjory Jacobson, Art for work: the new Renaissance in corporate collecting, Boston 1993Donald M Reynolds, Masters of American sculpture: the figurative tradition from the American renaissance to the millennium, New York 1993 Rudi Fuchs and Heinz Tesar, The ESSL Collection: the first view, Cologne 1999Jerold S Kayden, Privately Owned Public Space: the New York City Experience, Marblehead 2000Francis Morrone, James Iska, The Architectural Guidebook to New York City, Utah 2002Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since The 1980s, London 2003Alan Windsor, British Sculptors of the 20th Century, Evanston 2003Barry Flanagan, Barry Flanagan, London 2003 Anne Civardi, Sculpture: Three Dimensions in Art, London 2005Juncosa, Enrique (ed.), Barry Flanagan: Sculpture 1965-2005, Dublin 2006Gottfried Knapp, Prof Karlheinz Essl, Passion for ART 35th Anniversary of Essl Collection, Vienna 2007Jo Melvin, Barry Flanagan: Works 1966-2008, London 2010 Deirdre Holding, Armenia with Nagorno Karabagh, Chalfont Saint Peter 2011Preston, Clare, Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Barry Flanagan, London 2017Jo Melvin, The Hare is Metaphor, New York 2018Leaping forward with a dynamic, lithe energy that is almost acrobatic, Harebell on Portland stone piers captures Barry Flanagan's most iconic subject, the bronze hare. Executed in the early 1980s, the work comes from a seminal decade that would become a definitive period in the artist's oeuvre. His characterful hares have become established as popular landmarks in cities and landscapes worldwide and are included in institutional collections including the Museum of Modern Art in New York, the National Gallery of Art in Washington D.C., and the Tate Gallery in London, among others. This present work is from an edition of five, the most prominent of which is in the Minneapolis Sculpture Park on permanent display where it is widely visited and admired. 1979 marked Flanagan's departure from his post-minimalist works of the 1960s and 1970s where he used 'soft' materials such as hessian, sand and rope and rediscovered bronze casting in a figurative form. Flanagan began to produce a variety of bronze animals, but the hare emerged as his most recognisable subject. Flanagan grew up in Wales where hunters described to him the dynamism and physicality of hares and how their determination was unparalleled as they bounded through the wilderness. However, it was Flanagan's recollection of seeing a hare majestically leaping through the Sussex Downs and upon reading 'The Leaping Hare' by George Ewart Evans and David Thomson, that first inspired him to explore the motif. His earliest work Leaping Hare was exhibited at Waddington Galleries in 1980; it was the debut of what would lay the foundation for his future artistic practice, and two years later, in 1982, he represented Britain at the Venice Biennale. Flanagan was fascinated by the hare's anthropomorphic potential - its ability to amplify a range of expressive characteristics and convey meaning beyond what he felt possible in the human form. 'I use the hare as a vehicle to entertain. I abstract from the human figure, choosing the hare to behave as a human occasionally.' (The artist in: Enrique Juncosa, Barry Flanagan Sculpture 1965-2005, exh. Cat, Irish Museum of Modern Art, Dublin, 2006). Harebell on Portland stone piers conceived in 1983, exudes playfulness and bountiful energy. Flanagan was fascinated by the fluidity of the hare's anatomy. The hare, who actually delightfully spins on its axle, is depicted mid leap with its out-stretched limbs fully flexed, its ears pull behind him emphasising the velocity of movement, offering an exceptional sense of drama. The hare appears weightless, defying gravity, as it glides over the bell providing a comical contrast to the weightiness of the medium. The solidity of the bell provides further contrast emphasising a force of gravity, whilst also being a symbol of steadfast solidarity. Upon leaving St Martin's School of Art in 1966 Flanagan had established himself as a leading figure of the avant-garde. He was fascinated by the movement of 'Pataphysics, a theory defined as a 'science of imaginary solutions'. The ideologies represented an escape from reality that challenged academic seriousness and these principles had a profound influence on the Dada and Surrealist movements. An early member of this movement was Joan Miró, who in 1925 produced Landscape (The Hare). Miró depicts a hare in a vibrant imagined landscape adding a spiralled form and crescent shaped object. The hare challenges the viewer with its fixated eyes characterising its bold spirit. Miró, much like Flanagan, was said to have been inspired by seeing a hare dart across a field. It is considered that Flanagan used the motif of the hare as a metaphor for his own elusive, wild character and in response to the ideologies of 'Pataphysics as a tool against strict avant-garde academicism and the over-intellectualised view of art from that period. The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Harebell on Portland stone piers is a seamless example of Barry ... This 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
Lot 168
Salvador Dali (Spanish 1904-1989), 'Horse Saddled With Time', 1980, bronze sculpture with marble base, cast using the lost-wax process, cast circa 2005 by Persea Fonderia Mendrisio, Switzerland, numbered from an edition of 350, bearing the Foundry Stamp and Artist's inscribed signature; 44cm High, 48.5cm high inc base ARR
Lot 753
Asian bronze cane/walking stick. The Bamboo shaft is 34"L The realistic shaped bronze handle depicts a Goat. The entire shaft is hand carved in Bamboo. There is a 1" Brass/steel Ferrule. Excellent condition with age related wear. Issued: 1880Dimensions: 34"LCondition: Normal age related wear for the age of these antique canes. All sold as is.
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350105 item(s)/page