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Click here to subscribedating: 1727 provenance: Germany, Heavy, bronze barrels, with moulded muzzle, decorated with floral motifs and various rings, two dolphin-shaped handles in the center and cylindrical trunnions; base with flower-shaped vent, first part with a crowned coat-of-arms and bandeau 'W. L. F. V. HAGEN' in bass-relief. Button chiselled with floral motifs. One barrel dated on the lower part '1727'. Beautiful patina. Provenance: private collection, France. length 79 cm.
dating: Mid 19th Century provenance: England, Smooth-bore, octagonal, bronze barrel with test-bed stamps; cock on the back (doesn't hold the cocked position), metal stock with horn grip scales (small parts missing); trigger and two blades for a folding knife, two extractable pincers. length closed 16.5 cm.
TASSOTTI, KURT (geb. 1948, stud. bei K.-H. Seemann u. A. Hrdlicka), "Tänzerin, sich die Schuhe bindend", Bronze, brüniert, vollplastische Figur einer Ballerina, sich zum Binden der Schuhe bückend, auf runder Plinthe signiert 'TASSOTTI', H: ca. 75 cm. Minim. Altersspuren. TASSOTTI, KURT (born 1948, studied with K.-H. Seemann and A. Hrdlicka), "dancer, tying her shoes", bronze, burnished, fully plastic figure of a ballerina, bending over to tie her shoes round plinth signed 'TASSOTTI', H: approx. 75 cm. Minim. Signs of age.
STUHL IM LOUIS XVI-STIL Wohl Paris, um 1900, Mahagoni, Sitz auf gerader Zarge, sich nach unten verjüngende Beine, fein mit Bronzeapplikationen belegte und durchbrochene Rückenlehne, H: ca. 92 cm. Sitz besch. LOUIS XVI STYLE CHAIR Probably Paris, about 1900, mahogany, seat on a straight frame, legs tapering to the bottom, the backrest decorated with bronze applications, h: ca. 92 cm. Seat dam.
ART-DÉCO-BILDHAUER/IN 1. Hälfte 20. Jh., "Panther", nach Eichholtz, Metallguss, in Bronzeart schwarz patiniert, auf schwarzem Steinsockel montiert, HxL: Figur ca. 13,5x42,5 cm, gesamt ca. 16x42,5 cm. Altersspuren. ART DÉCO SCULPTOR 1st half of the 20th century, "Panther", after Eichholtz, cast metal, with a black patina in bronze, mounted on a black stone base, HxL: figure approx. 13.5x42.5 cm, total approx. 16x42 , 5 cm. Signs of age.
Zwei Kultbronzen im archaischen Stil. CHINA Gefäß 1: mit rundem Gefäßbauch, der umlaufend mit 'taotie'-Masken in Relief verziert ist. Mit zwei seitlichen Henkeln und auf drei zylindrischen Beinen stehend, H.: 20,5 cm, mit dazugehörendem Holzstand. Das Gefäß Nr. 2 ist von runder, gebauchter Form mit zwei seitlichen Ringhenkeln und steht auf einem kurzem Standring. Umlaufend verziert u.a. mit 'taotie'-Masken in Relief sowie mit einer in Hochrelief gegossenen Kordel, innen am Boden vermutlich Widmungsinschrift mit acht Zeichen, H..18 cm. Beide besch.. Two ritual bronze vessels, China. Height: 20,5 cm and 18 cm. One with an inscription with eight characters inside. Both with traces due to age and use, damaged
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A 'half set' of six late 18th century Italian patinated and parcel gilt bronze busts of Roman Emperorsprobably Roman and by Francesco Righetti (1749-1819) each clad in drapery on circular-waisted soccles below integral cartouche plaques, inscribed: AVGVSTVS, CALLICVIA, GALBA, OTHO, VESPASIANVS and TITO ,the smallest 29cm high, the largest 31cm high. (6)Footnotes:ProvenanceProperty of an important Spanish noble family, El Retiro, Churriana, Málaga, SpainRelated LiteratureDESCRIPCION DE LA CASA DE CAMPO DEL RETIRO DEL CONDE DE VILLALCAZAR. MALAGA, 1814, pp. 8-9 The entry in the 'Gallery of the Emperors' stating 'Among the works of sculpture, there is a bust of Vitellius in bronze of great merit, and six more heads, which are Augustus, Caligula, Galba, Otho, Vespasian and Titus.', the later six heads apparently being the 'half set' of busts which constitute the present lot with the first head being a larger and separate but perhaps related bust of Vitellius -now lost.Comparative LiteratureFrits Scholten [ed.], Willem van Tetrode, sculptor, exh. cat., Rijksmuseum, Amsterdam / Frick Collection, New York, Ansterdam / New York, 2003, p. 116, no. 6Bertrand Jestaz, Copies d'antiques au Palais Farnese: Les fontes de Guglielmo della Porta', in Melanges de l'Ecole Francaise de Rome: Italie et Mediterranee, vol. 105, 1993, 1, pp. 7-48, esp. pp. 30-41, figs. 17-28Charles Avery, Soldani's mythological bronzes and his British clientele, in Sculpture Journal, XIV, 2005, pp. 8-29The tradition of producing sets of roughly half life-size busts depicting Suetonius's series of Twelve Roman Emperors began with a dozen (27cm. high) made in bronze for oval niches on the front of an elaborate wooden studio-cabinet - with other statuettes - by Willem van Tetrode (c. 1525-1580). A Dutch immigrant - as part of his journeyman years as a sculptor / bronze-founder - he had travelled to Florence (to work with Cellini) and then on to Rome, with Guglielmo della Porta. In the latter's post-mortem inventory of 1575, a dozen emperors are listed and they are thought to have been based on a set of life-size marble busts carved by Tomasso della Porta for Alessandro Farnese. The details of their cuirasses and the fall of their togas are more carefully differentiated than those on the present series, but the bases are simpler, having only small squarish cartouches below with indications of their names, e.g. 'N' for Nero (unlike the present, elaborate, baroque, cartouches with their full names given in relief in capital letters).No other sets by Tetrode are known, but - following the trail of Tetrode's later return to his native Netherlands - a silversmith in Delft, Thomas Cruse (who died in 1624) owned a number of Tetrode's models, among them sets of piece-moulds for twelve emperors. Such an artist might well have fashioned the then 'modern' curlicues round the name-labels shown on our set and spelt out their names for 'northern humanist collectors'.The famous Florentine sculptors seem not to have indulged in series of small emperor-busts during the long post-Michelangelo period, which was otherwise dominated initially by Bandinelli and Bandini (whose sculptures and busts of the Medici closely resembled ancient ones) and by the Flemish immigrant Giambologna (1529-1608). Nor have any been attributed to his followers in bronze, the two Susinis or the two Taccas, whose work stretched far into the 17th century.One has to wait until early in the following century evidence for the further distinct production of such busts in series of a dozen, with their empresses too, this time in Florence once more: a letter of 22 November 1707 from the Grand-ducal Chamberlain to the Medici Grand-dukes, Lorenzo Magnolfi, who also acted as a high-level art-agent for grandees, furnishes the names of three pioneer patrons among the British for Soldani in the role of sculptor. It was addressed to one of them, Sir John Perceval of Burton, County Cork, later Earl of Egmont (1683-1748), who spent six months in Italy while on his Grand Tour: 'you may order Messrs Arundel and Bates to reimburse me for the said heads, and for the busts and statues you did order to Signor Massimilano Soldani which are already done and packed up; and there are twenty four heads and three statues, and I hope you will be pleased with them since they are very well done ...'. Judging from this bald description, as well as from Perceval's intention expressed elsewhere that his works of art be for 'the use of an accademy (sic) of painters which he purposed to forward the erecting in Ireland', one might infer that they were after ancient prototypes. The high, even, number of twenty-four indicates probably that a set of the usual 'Twelve Caesars', with their wives, was being supplied. Soldani did indeed produce a few accomplished life-sized, highly polished busts after the antique, but so high a number suggests that these were not life-size. Disaster befell both of Perceval's shipments. They were captured by French privateers in 1707 and 1709, the spoils presumably being fed into the art market in France, unless they were melted down to make cannon. No such busts on a reduced scale - suitable for the tops of desks, cabinets or bookshelves in British libraries - are known. Thereafter, with the advent of Neo-classicism and the ever-increasing flood of adolescent British boys - steeped in the Classics, owing to the need to help create a new British Empire, the equivalent of Rome's - the onus of producing such attractive and eye-catching sets of emperors reverted to Rome. By the 1790s, ingenious goldsmith/bronze-founders in the Eternal City were producing pseudo-antiquities in commercial quantities and distributed printed price lists of their product. One from Francesco Righetti - in the international diplomatic language of French - included, among his 'Bustes avec leur Base Doree, en tout, hauts d'un palme, cinq onces', an item, 'Les douze Cesars a 12 sequins l'un' - or 144 sequins for the set. Their height - in Roman palms and inches - was therefore the same as the present series, while their surfaces and patina were meant to imitate antiquities, such as were then being excavated in Pompeii and Herculaneum: this clinches the probability that they date from the second half of the 18th century and were made in Rome. Righetti may well have fallen back on older models from the late Renaissance or early Baroque periods, such as have been described above, in order to produce his set speedily and economically.For further information on this lot please visit Bonhams.com
Sir Alfred Gilbert, A.R.A., R.A., M.V.O (British, 1854-1934): A rare and probably unique patinated and parcel gilt bronze 'double size' figure of St Georgeordered by John Charles Williams of Werrington Park, Launceston, Cornwall directly from the sculptor and probably cast by Broad & Son, circa 1895-6the figure with helmeted downcast head modelled in contrapposto and clad in elaborate armour with shell cast pauldrons and winged poleyns, one arm raised and with a slightly turned hand, the other arm down and outstretched, his straight sword with a corpus crucifix to the hilt (now lacking finial), on swirling base, raised on an ebonised shallow square plinth, the figure, 88cm high, 93cm high overall including wood plinth base Footnotes:ProvenanceJohn Charles (J.C.) Williams (1861-1939), Werrington Park, Launceston, Cornwall.Ordered by J.C. Williams in 1895 as apparently the first part of a commission for four double size figure replicas, St George being the first figure representing England, the others as the second part of the commission being saints representing Ireland, Scotland & Wales (these three figures apparently never realised).Thence by descent.John Charles Williams (1861-1939) of Caerhays Castle, St Austell, Cornwall was an English Liberal Unionist politician, collector and keen horticulturalist, noted for his philanthropic interests in botany.Affectionately known as 'J.C.', he was the second son of the miner, landowner and banker John Michael Williams (1813-1880) and Elisabeth Maria (d. 1884), of Caerhays Castle and was educated at Rugby School and at Trinity Hall, Cambridge. The Williams family of Caerhays, Burncoose and Scorrier were prominent owners of mines and smelting works for several generations during the Cornish Industrial Revolution. In 1882 'J.C.' Williams acquired the estate of Werrington, an 18th century house with earlier origins (then in Devon, but since 1974 in Cornwall) as his home and set about furnishing with furniture and artworks, some possibly from an earlier dispersal sale of the original contents but the majority acquired himself from other sources following the fashions of the day. His own wealth combined with the fact that his elder brother Michael Williams took over running the family's business interests meant that he was able to devote time to collecting including amassing three major noted mineral collections and in particular his interests in breeding rhododendrons, camellias and daffodils amongst other plants. He married Mary Christian Williams (1861-1922), the second daughter of Sir Frederick Martin Williams, second baronet of Tregullow in 1884 and in that same year he returned to live at Caerhays Castle when his mother died. However, he remained Squire of Werrington Park even when he returned to his ancestral home as he reputedly enjoyed the good hunting on the Werrington estate and as such it is recorded that the he and his family lived partly at Caerhays and partly at Werrington in the late 19th and early 20th centuries. Elected at the 1892 general election as the MP for Truro, he held the seat until he stood down at the 1895 general election and was also High Sheriff of Cornwall in 1888, and Lord Lieutenant of Cornwall from 1918–36.During the Great War Werrington was turned over to the Red Cross becoming Auxiliary Home Hospital Werrington and accepting injured troops from the frontlines in France and Belgium. Mrs Williams is recorded as being 'Officer in Charge and Organising Secretary' and the hospital treated 1128 patients between January 1915 and March 1919.John Charles and Mary Christian Williams had five sons and one daughter: The Honourable Charles Williams of Caerhays Castle, Conservative MP for Tavistock 1918-1922 and Torquay 1924-1955.John Francis Williams, killed in 1916 serving as Sub-Lieutenant of the St. George flotilla on the 'HMS Russell'.Alfred Martin Williams, CBE, Conservative MP for North Cornwall 1924-29.Robert Williams, killed in 1915 serving as Second Lieutenant of the 1st Guards Brigade, 2nd Battalion of the Grenadier Guards at the Battle of Loos.Peter Michael Williams, known as 'PM', High Sheriff of Cornwall, 1952.May Williams, who nursed her father after her mother's death. Alfred Gilbert's St George and The Duke of Clarence MemorialAlfred Gilberts depiction of St George can perhaps be described as the emblematic zenith of the New Sculpture movement. However its conception and realisation on what was perhaps Gilberts most prestigious commission of the his career, that of the tomb of the The Duke of Clarence in the Albert Memorial Chapel at Windsor Castle was also the cause of much controversy.Ten years previously however, Gilberts accent to the position of England's premier sculptor had seemed a natural and inevitable progression following the death of his former master and sculptor to the Royal family, Joseph Edgar Boehm in 1890. His success was subsequently sealed with the most prestigious commission of the day from the bereaved Prince and Princess of Wales to design a tomb for their eldest son, Prince Albert Victor, Duke of Clarence and Avondale who had tragically died from influenza on the 14th January 1892. Summoned three days after the funeral to discuss plans with the royal couple, Gilbert's preliminary sketch for the tomb of her grandson was approved by Queen Victorian on the 6th March 1892.Although the finished tomb itself was a tour de force of the sculptors art incorporating an effigy of the recumbent Prince in his Hussar uniform beneath the figure of a kneeling angel holding a heavenly crown realised in bronze, brass, aluminium and white & coloured marble, it was the extraordinary hybrid Gothic and late Victorian surrounding grill designed to pay homage to the tombs of Cardinal Wolsey / Henry VIII that led to the inception of the figure of St George.After seeing a monograph of the Wolsey / Henry VIII tomb prepared by the scholar Alfred Higgins and also seeing its inspiration which was the earlier tomb of Henry VII, Gilbert decided to emulate the use of such similar grills to these tombs incorporating twelve polychrome niche figures of saints into a fantastically elaborate design. The royal family were then consulted as to which saints should be represented. These were in order around the tomb, St George, The Virgin, St Elizabeth of Hungary, St Michael, St Margaret, St Patrick, St Catherine of Siena, St Edward the Confessor, St Hubert of Liege, St Ethelreda of Ely, St Nicholas of Myra and St Catherine of Egypt. Of these saints, St George is undoubtedly the most famous and was the first to be cast. Epitomizing the last traces of Pre-Raphaelitism merging into Art Nouveau but perhaps also idiosyncratically paying homage to the armour of French and German medieval tomb figures rather than those of the Italian Renaissance, the warrior saint is depicted as a sinuous long limbed effete youth clad in fantastical separately cast armour incorporating swirling shell motifs. The first figure of St George, cast in 'white metal' by George Broad & Son with carved ivory hands and face, was presented to the Prince and Princess of Wales. Delivered to Sandringham in November 1895 and intended as a private 'household' memorial to the Duke of Clarence it was subsequently installed in the Church of St Mary Magdalene at Sandringham.The second figure of St George, cast in aluminium, again by George Broad & Son with carved ivory hands and face was the model that was installed at the tomb. As the first of the twelve saints surrounding the tomb to be cast, it was unveiled by Queen Victoria and positioned in its niche in July 1898. Nevertheless at that moment in time, five figures of saints were still missing and it was not until 1928 that the tomb was actually finally completed, thirty six years after the o... For further information on this lot please visit Bonhams.com
Jean Baptiste Carpeaux (French 1827 -1875): A bronze figure of Le Jeune pêcheur à la coauille (Neapolitan Fisher Boy)the crouching nude with head turned down and slightly to dexter, holding a conch shell up to his left ear, wearing a cloth cap and with a small fishing net in his lap, on naturalistic canted rectangular moulded integral base, signed: Carpeaux and with propriete Carpeaux and Carpeaux with the indistinct Eagle Cachet, mid golden brown patination, 88.5cm high Footnotes:Carpeaux was a student at the École des Beaux Arts and won the Prix de Rome in 1854. Inspired by the old master sculptors of the Italian Renaissance and influenced by his master Francoise Rude (1784 -1855), he moved to Rome in 1854 where he worked until 1861. It was in Rome that he developed his signature style utilising the principles of baroque art while depicting everyday subject matter.in 1857 whilst a student in Rome, Carpeaux made a plaster model of Pêcheur Napolitain à la coquille(the Neapolitan Fisherboy), a subject which is now perhaps more synonymous with his work. First shown at the 1858 Salon, this original plaster is now in the Musée D'Orsay. Several years later he carved the marble version which was displated at the Salon exhibition in 1863. This same piece was purchased by Napoleon III for his wife, the Empress Eugenie and is now in the Musée du Petit Palais in Paris. A further marble version is in the National GAllery of Art in Washington, USA.Carpeaux subsequently produced a number of editions in terracotta, marble and in bronze including casts by Victor Adolphe Thiébaut, and the model was also posthumously cast in bronze and terracotta, most prolifically by Susse Freres after his death well into the 1930s.Related LiteratureM.Poletti and A.Richarme, Jean-Baptiste Carpeaux sculpteur: Catalogue raisonne de l'oeuvre edite, Paris, 2003, pp.63, no.SA9A.Middleton Wagner, Jean Baptiste Carpeaux, Sculptor of the Second Empire,Yale University Press, 1989This 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 Ferdinand Barbedienne gilt bronze mounted banded agate figural garniture ewerscirca 1870each of pedestal vase form with fixed fruiting finial covers and acanthus leaf lips, the handles modelled as nude females holding onto shells, their feet resting on a small square cushions, above beaded collar friezes cast with Bacchic masks, raised on circular socle and re-entrant cut corner plinth bases, signed F. BARBEDIENNE PARIS, the hookah vase lacking its wire pipe, 41cm high overall (2)Footnotes:Provenance: Sothebys 12th May, 2000, lot 59.Ferdinand Barbedienne began his Parisian foundry in 1839, in partnership with Achille Collas (1795 -1859). Originally known for bronze reductions of famous classical sculptures, Barbedienne, beginning in the 1850s, developed the manufacturing of decorative objects in bronze with enamel decoration in various revival styles. Following the outbreak of the Franco-Prussian war in 1870, the firm had to turn to canon founding for a short time, before returning to normal business afterwards.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
Pierre Courteys (French, 1520-1602): A Limoges en-grisaille enamelled bowl depicting the Laocoon and his childrenthe centre painted with the figure of the Laocoon flanked by his sons, writhing serpents entwined around the group, a harbour scene with temple to the background, the plinth beneath the group inscribed in gilt LAOCHOON and bearing indistinct date 1552?, within a gilt foliate interlaced border, the underside with four male maskheads within formalised paper scrolls and further gilt foliate scrolls, the bowl originally part of a pedestal cup or tazza, 20cm diameter, 5cm highFootnotes:ProvenanceProperty of a private Italian collectorLimoges in the south west region of France, has been world-famous for producing enamels for centuries. Originating in the 12th century, the industry of decorating metal objects, usually in bronze and brass (and mostly made for ecclesiastical purposes) in champleve coloured enamels, thrived until circa 1370 when a swift decline meant that these precious manufacturing skills were almost lost. However, in the late 15th century the production of enamel returned to the region but with a move to producing more secular objects. With this revival came new techniques including painting the decoration directly onto the enamel rather than gouging out designs then flooding them with enamel. Several notable French workshops emerged with their own distinctive styles who would, in some cases, also sign or punch mark their work. Usually depicting mythological or religious narratives, these wares, often plates, chargers or plaques, became highly prized objects.Perhaps one of the best enamel painters of Limoges, Courteys was probably a disciple of Pierre Reymond working from circa 1550-1568. Courteys is thought to have died in 1602 and many of his works are now in the Louvre in Paris.LiteratureSuzanne. Higgot, with contributions from Isabell Biron, Susan La Neice, Juanita Navarro and Stefan Rohrs, The Wallace Collection Catalogue of Glass and Limoges Painted Enamels, The Trustees of the Wallace Collection, 2011.We would like to thank Suzanne Higgot, curator of Glass, Limoges and painted enamels at The Wallace Collection, London for her kind and generous assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
A 19th century Limoges enamel charger decorated with a scene of Artemis and Apollo killing the children of Niobe, probably Samson in the manner of an original by the workshop of Pierre Reymond, the design after Philippe Gallethe vengeful god and goddess borne aloft by a cloud, smiting the figures below as they cower in fear, Apollo with his bow and arrow and Artemis with her spear, set against a verdant landscape with a city beyond, possibly the city of Tantalus located at the foot of Mount Sipylus, visible in the background, the reverse showing a Romanesque profile in the centre with a putto below wearing the diadem of Artemis, 39cm diameterFootnotes:ProvenanceProperty of a private Italian lady collectorLimoges in the south west region of France, has been world-famous for producing enamels for centuries. Originating in the 12th century, the industry of decorating metal objects, usually in bronze and brass (and mostly made for ecclesiastical purposes) in champlevé coloured enamels, thrived until circa 1370 when a swift decline meant that these precious manufacturing skills were almost lost. However, in the late 15th century the production of enamel returned to the region but with a move to producing more secular objects. With this revival came new techniques including painting the decoration directly onto the enamel rather than gouging out designs then flooding them with enamel. Several notable French workshops emerged with their own distinctive styles who would, in some cases, also sign or punch mark their work. Usually depicting mythological or religious narratives, these wares, often plates, chargers or plaques, became highly prized objects.The workshop of Pierre Reymond (c.1513 -after 1584) produced exceptional pieces throughout the 16th century. There is evidence to suggest that Reymond was both the owner of his large workshop and an artist in his own right, practising for over four decades. Hence his works were an obvious source for the fine reproductions produced by Samson in the second half of the 19th century.LiteratureSuzanne. Higgot, with contributions from Isabell Biron, Susan La Neice, Juanita Navarro and Stefan Rohrs, The Wallace Collection Catalogue of Glass and Limoges Painted Enamels, The Trustees of the Wallace Collection, 2011.We would like to thank Suzanne Higgot, curator of Glass, Limoges and painted enamels at The Wallace Collection, London for her kind and generous assistance in cataloguing this lotFor further information on this lot please visit Bonhams.com
(THH) A rare pair of Grand Tour type alabaster relief portrait plaques of Charles Edward Stuart 'Bonnie Prince Charlie' and Henry Benedict Stuart, each in an octagonal ebonized and brass mounted frame, with applied and engraved decoration, 29.5cm wide, each with bronze 'Legitimacy of the Jacobite Succession' medal suspension.
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