Pair of candlesticks, Empire period; c. 1810.Gilt and blued bronze.Electrified.Measurements: 58 x 29 x 12 cm (x2).Pair of candelabras that present the same structure that is supported on a gilded base of square format, on which there is a high foot of square structure, in which the finish of the gilded bronze is combined with ornamental appliqués. The latter are conceived through a classical inspiration based on antiquity, as the corners are topped with fantastic animals that appear to be sphinxes, and in the main area there is an applique representing the symbol of the god Hermes. The shaft of each of the candelabra is a winged woman holding in her hands a gilded bronze structure from which lights emanate at each end, while the centre is topped with a third light. Candelabra of this type were very common in the First Empire and, because they were inspired by them, in the Second French Empire. In both cases, the influence of classical decorative elements is clear, both in the reliefs and in the human figures on the pedestals, always with marked straight lines.
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JOSÉ GALLEGOS Y ARNOSA (Jerez de la Frontera, Cádiz, 1857 - Anzio, Italy, 1917)."Scene outside the Basilica of San Marco.Oil on panel.Signed and located (Venice) in the lower right area.Measurements: 16 x 9.5 cm; 26 x 20 cm (frame).José Gallegos y Arnosa, painter and sculptor from Jerez in the second third of the 19th century, was born on 3 May 1857 in the Convent of La Victoria in Porvera Street in Jerez, currently the headquarters of the School of Applied Arts and Artistic Trades and the Business School of that city. As a child he was attracted to the Fine Arts, a passion he shared with Salvador Sánchez Barbudo, who was the same age as him and a regular companion. Together they frequently visited the studio of the romantic painter Luís Sevíl and attended the artistic and literary gatherings organised by the Ysasi sisters.The young José spent a period of apprenticeship at the Casino de Artesanos de Jerez and received advice from artists such as Adolfo del Águila y Camacho. Guillermo Cook, who would later become the active director of the Academia de BBAA in Jerez, pressed for his parents to provide the means for José to study Fine Arts, given the incredible faculties with which the young man was endowed.Once this first stage of apprenticeship was over, in 1873, at the age of 16, he went to Madrid as a boarder of Guillermo Garvey, a winemaking businessman and his father's patron. There, at the San Fernando Academy in Madrid, he began a new stage of his training under the tutelage of Federico Madrazo, and in 1878 he went to Rome to broaden his knowledge and attend classes at the Academia Chigi and the Círculo Internacional de Bellas Artes. There he met Sánchez Barbudo and José Villegas Cordero, then the most influential painter in the colony of Spanish artists in the Italian capital. He decided to settle permanently in the Eternal City and, following the successes he achieved in several exhibitions, which were reflected in the art critics of the time, and encouraged by the prevailing Orientalist fashion, he travelled to Tunisia and Morocco, attracted by the light and the suggestive atmosphere of those exotic lands. The result of those trips was the work "Cortejo nupcial en Marruecos" ("Wedding Procession in Morocco"), which he presented at the Círculo de BBAA Exhibition and which was acquired by the Spanish State. In 1884 he painted "Botín de Guerra" ("Spoils of War"), which won a third medal at the National Exhibition of that year. He sent several paintings on orientalist themes to the Bosch and Hernández galleries and to the Círculo de BBAA in Madrid.In the middle of that decade he travelled around Italy with Sánchez Barbudo, visiting churches, cathedrals and basilicas, which were fundamental to the change of subject matter he introduced into his work in those years: everyday scenes in interiors and exteriors of important cathedrals, the subject of the present pair of panels, which undoubtedly date from this period. In 1891 he won the Gold Medal at the International Exhibition of Fine Arts in Berlin with "Wedding in the Sacristy of the Cathedral of Seville", an award conferred personally by Emperor Wilhelm II of Prussia and granted by an International Jury made up of the most outstanding personalities in the world of the Arts, Sciences and Literature of the time. Guillermo Garvey, his old patron, commissioned him to build an architectural monument to provide the church of Santiago with an extraordinary work of unquestionable beauty: "El Baldaquino de Santiago" monument built on a base of grey Bardiglio marble, in Carrara marble ten metres high made of 43 pieces of marble 36 bronze sculptures and tabernacle in fire-gilded bronze and with a wonderful door in solid embossed silver, in the centre of which is the Redeemer in high relief surrounded by a Heavenly choir in bas-relief.
Pair of candlesticks, Empire period, c.1810.Gilt and blued bronze.Electrified.Measurements: 62,5 x 29 x 12 cm.Pair of candelabras that present the same structure that is supported on a gilded base of square format, on which a high foot of square structure is arranged, in which the finish of the bluing bronze is combined with ornamental appliqués of gilded bronze. The latter are conceived through a classical inspiration based on antiquity, as the corners are topped with fantastic animals that appear to be sphinxes, and in the main area there is an applique representing the symbol of the god Hermes. The shaft of each of the candelabra is a winged woman holding in her hands a gilt-bronze structure from which lights emanate at each end, while the centre is topped by a gilt-bronze torch.Candelabra of this type were very common in the First Empire and, because they were inspired by them, in the Second French Empire. In both cases, the influence of classical decorative elements is clear, both in the reliefs and in the human figures on the pedestals, always with marked straight lines.
Coins, Great Britain, a collection of coins including an Edward I Penny, London Mint, F, an Elizabeth I Sixpence, NF, a James I Shilling, Third Coinage, F or better but losses to edge, a William & Mary Farthing, 1694, F, an 1844 Half Farthing, NEF with lustre, a 1902 One Third Farthing, NEF with lustre together with assorted other British coins and a small collection of Roman copper and bronze coins
* ANGUS MCEWAN RWS RGI RSW (SCOTTISH b. 1963),STANDING ROCKwatercolour on paper, initialled and dated '96image size 25cm x 18cm, overall size 48cm x 39cm Mounted, framed and under glass.Note: Angus McEwan was born in 1963 in Dundee, Scotland. Angus studied at the Duncan of Jordanstone College Art in Dundee, graduating in Fine Art and a Post Graduate Diploma in the same discipline. Angus was elected to the Royal Scottish Society of Painters in Watercolours (1995) and in 2012 the Royal Watercolour Society. In 2005 he was recognized as an Associate of the International Guild of Realism USA. He is also an associate member of the AWS and NWS in the USA. Angus has been Finalist three times of the ''International Artist Magazine'' and won first place in the John Blockley Prize in the RI open exhibition. Angus has also won second prize in the Sunday Times Watercolour Competition (2007) in London and the International Prize ''Marche d'Acqua'' Fabriano, Italy in 2012. In 2013 Angus won Bronze Award, at the Shenzhen International Watercolour Biennial, in China. He was recently awarded the May Marshall Brown Award at the Royal Scottish Society of Painters in Watercolours (RSW), Edinburgh, 2015 and was elected RGI in May 2016. Many galleries display McEwan's works, including Ok Harris Gallery in New York and Quanhua Gallery, in Shanghai. Recently highlighted in Shenzhen Biennale and the Qingdao Hall of Watercolor. He has exhibited in Fabriano, Italy in the ''Marche d'Acqua'' International Award, as a special guest and in Vicenza, Italy, where he had a solo show in the ''Artbox''. McEwan was one of the 23 finalists in Narbonne, France at the Concours Mondial de l'Aquarelle 2014 1st World Watercolour Competition. Angus also exhibited at the World Watermedia Exposition, Thailand and Myro Gallery, Greece. He also participated in the Second International Watercolour Exhibit in Thessaloniki, Greece. In the UK McEwan exhibits with Thompson's Gallery (London) and The Open Eye Gallery (Edinburgh). Notable collectors include: Dundee Art Galleries and Museums; The Qatar Royal Family; the Royal Scottish Academy Collection; Ernst & Young, Glasgow; Scottish Enterprise; Scottish Equitable; Historic Scotland; Perth Royal Infirmary.
* PATRICK ELDER (BRITISH b. 1953),UNTITLEDbronze sculpture, signed and numbered 3/49, stamped 'Morris Ginger Founders London', dated 1991 label to base14cm high.Note: In searching for peace and contentment in his life Patrick Elder came across Vipassana Meditation in 1989. Over the years of practising this profound technique, it became apparent that a great beneficial change had come about, not only in his daily life but also in his sculpture. In integrating the technique into his life it was to become the basis for all his work. Freeing up the mind allows a natural flow of creativity to occur. A natural result of this process is a sense of peace and harmony, which he tries to instil in his work. He says: "My purpose is to help create and promote a loving and peaceful world in which all may live happily and harmoniously together. To achieve this, I endeavour to work in a spontaneously creative manner, from a balanced centre of unconditional love, peace and harmony." Patrick Elder has exhibited widely and has work in collections throughout the UK, Europe, Australia, the USA and Switzerland.
Japanese bronze elephant figure, artist signature on belly. bronze castings elephants. The two characters on the foot of it appear to be "??", which might be pronounced "Takarashima", among other Japanesetranscription possibilities. The same two in Chinese Mandarin would be "Baozhou". Meaning in both languages is "Treasure Island". Elephant models in bronze were popular in the late Victorian period, and they were produced forexport in large numbers by various Japanese sculptors and foundries. H:6.75in(17.1cm) W:11in(27.9cm)
Lost wax bronze h 54 cm Nude of a woman with a Greek face, in an upside down position resting on one hand. "Sculptor of remarkable ability, schoolmate of Emilio Greco. He knows Adolfo Wildt, whose assistant he was in Milan. In Catania he was a propeller of culture by encouraging young emerging Sicilian artists and organizing exhibitions in his Gallery of S. Demetrio ai quattro canti. his works in Catania. "STUDIO ASOR This lot is subject to Artists Resale Rights
depicted seated in dhyanasana, the principal pair of hands clasped at the chest in anjali mudra, the second pair holding prayer beads and a flower, the stand modelled as a stylized lotus flower with a beaded border, bronze with gilt patina overall, save for the hair and most of the base; height of sculpture: 42 cm (16 1/2 in.), height including base: 46.5 cm (18 1/4 in.), overall weight: 11.7 kgCONDITIONThe sculpture is in good condition. Minor tarnishing and darkening to the bronze.
Woman and Satyr1986cold painted and partial gilt bronzeheight: 45 cm (17 3/4 in.)edition 5/9, monogram, stamped FINE ART ACQUISITIONS with copyright symbol and date along back of baseCONDITIONThe sculpture is in very good condition. Minor dings and scuffs to the base. Losses to the Woman's gown tail. Inspection under UV light shows no sign of restoration.
each five-light candelabra with the fifth candle holder electrified, the bronze bodies of amphora from with goats heads terminating from the side, the arms terminating from acanthus leaves and flowers, each atop a hard stone white stepped plinth with bronze toupie feet; height: 97 cm (38 1/4 in.), special note: not accompanied by shadesCONDITIONThe pair are in fair age-appropriate condition. Minor cracks to the hardstone bases of each. Both wired. Not tested for working condition.
![a) Sleeping Beauty, cold-painted bronze, stamped with Geschutzt, 'B in vase' with Austria; 13.5 cm (5 1/4 in.) [height]b) Sta](https://cdn.globalauctionplatform.com/d53b4de5-c227-4c03-a188-ae630143de0d/b04f2a39-9370-4441-bb90-ae66017a026b/468x382.jpg)
a) Sleeping Beauty, cold-painted bronze, stamped with Geschutzt, 'B in vase' with Austria; 13.5 cm (5 1/4 in.) [height]b) Standing Man, cold-painted bronze, apparently unmarked; 10 (w) x 16 (l) x 2.5 (h) cm (4 x 6 1/4 x 1 in.) [dimensions]RELATED LITERATURE Ernest Hrabalek, Bronzes de Vienne, (Laterna Magica, Munchen, 1991) illustrated p. 42; Joseph Zobel, Antique Vienna Bronzes, (A. Schiffer Book 2009) illustrated p.224 LOT NOTEBoth open with moveable pieces to reveal nudity.CONDITIONThe bronze is in good condition.
Les Trois Graces (The Three Graces)patinated bronzeheight: 80 cm (31 1/2 in.)signed with PROPRIETE CARPEAUX stamp on baseRELATED LITERATUREMichel Poletti and Alain Richarme, Jean-Baptiste Carpeaux, Sculpteur: Catalogue Raisonne de l'Oeuvre Edite, (Paris: Editions de l'Amateur, 2003), p. 101, SE 23LOT NOTESThis lot is a prime example of Carpeaux's work drawing heavily from his own, La Danse (The Dance), a complex and large sculpture commissioned for the facade of Paris' Opera Garnier. La Danse sculpture was unveiled in July 1869, with much criticism for the highly realistic and sensual female nudes. The sculpture was removed shortly after the installation due to the Franco-Prussian War in 1870 and the death of Carpeaux in 1875. Carpeaux studio designed a series of nine reductions and reconfigurations of La Danse, including the Les Trois Graces. The sculpture now resides in the collection of the Musee d'Orsay Paris.CONDITIONThe sculpture is in good age-appropriate condition. Scuffs present to the ankle of one Grace. A loss of the patina to the hair of another.
with a mantle clock and two candle holders each of gilt bronze with a champleve design, the candle holders held up by two putti, with beaded drip tray and splayed base, the mantel clock with applied foliate and floral gilt bronze detailing, the clock face, enamel with black Arabic Numerals, encased in glass, the clock face with partially effaced Bobois et Barthelemy France, stamped FRANCE, SOCIETE CLUSIENNE S. C.A.P.H. CLUSES on interior of mechanism; height of candle holders: 24.5 cm (9 5/8 in.), height of mantel clock: 35 cm (13 3/4 in.)CONDITIONThe garniture set is in good age-appropriate condition. The clock face will need to be reset into the bronze exterior. The clock was not tested for working condition and is not accompanied by a winding key. Shapiro Auctions does not guarantee the working of this nor any other timepiece in the sale.
squat balbous form, the body with different hues of green glass with patinated bronze with original metal liner, stamped TIFFANY STUDIOS NEW YORK with numerals 238 underside; diameter: 19 cm (7 1/2 in.), height: 11 cm (4 3/8 in.)CONDITIONThe jardiniere is in age-appropriate condition. Patina visible to the interior and bronze accents to the exterior. Minor cracks and losses to several of the glass.
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