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Lot 2122
10 Jugendstilmedaillen10 Jugendstilmedaillen Vorwiegend 1914-18 Thema Alsace, WK1. Daru 10 Jugendstilmedaillen 10 Jugendstilmedaillen Vorwiegend 1914-18 Thema Alsace, WK1. Darunter u.a. Jeanne D'arc 1920 von A.J Corbierre (Medailleur), Liberations Metz, Les Vetements de Prisonniers de Guerre. Straßburg 1918 u.weitere. Medailleure u.a. Corbierre, Dropsy, E.Hannaux, Max Blondat dßpres Forain, A.Mayeur, Sediou, Bertault, Bussial. Bronze u. Bronze versilbert/emailliert. D: 5 -7 cm. Plaketten 6 x 4,5 - 7 x 4,5 cm.
Lot 2057
Buddha AvalokiteshvaraBuddha Avalokiteshvara die meist respektierte Verkörperung des B Buddha Avalokiteshvara Buddha Avalokiteshvara die meist respektierte Verkörperung des Buddha. 11 Köpfe für die verschiedenen Verkörperungen des Buddha u. 8 Arme mit Attributen. Hier in stehender Fassung. Unterhalb Original Ausfuhrgenehmigung des Landes Thailand. H: 31 cm. - +Dabei:+ Bronze Buddha Thailand in stehender Positur. H: 22 cm.
Lot 2345
Russland Slg. ReiseikonenRussland Slg. Reiseikonen Bronze vorwiegend 19.Jh. Mit zahlrei Russland Slg. Reiseikonen Russland Slg. Reiseikonen Bronze vorwiegend 19.Jh. Mit zahlreichen Feldern u. Heiligendarst. wie Hodegratia, hl. Nicolaus Wundertäter u.w. 1 orthodoxes Kreuz, 1 Darstellung des hl. Nikolaus Wundertäter emailliert im Holzrahmen. 1 Ikonendarstellung wohl 18.Jh. Bronze mit Grünspan. Gekrönter Christus mit 6 Engeln über Ihm drapiert. Unterhalb Engel u. Heiligendarst. tlws. in feiner Darst. 1 x Bronze versilbert. Maße ca. 6 x 4 - 26 x 12,5 cm.
Lot 1001
Raised bronze plaqueThe Virgin and Child depicted in an alcove surrounded by angelsLabels to reverse for the " British Antique Dealers Association" and for Bonhams Auctioneers "The Adams Collection" lot number 13216th centuryProvenance: D. Manuel de Souza e Holstein-Beck Collection, Count of Póvoa. 12,2x8,6 cm
Lot 953
Carved ivory plaque depicting the Descent from the Cross scene with The Virgin of Sorrows, pierced by sword being comforted by Saint John, Mary Magdalene and putti at the feet of Christ and crying Angels in heavenProbably Northern Europe, late 17th century Bronze stand frame and applied chiselled silver elements representing symbols of The Passion of Christ crowned at the top by two reclining angels flanking a label inscribed "INRI"Italy, 17th/18th century(losses and faults)Like amber and coral, elephant ivory is one of the few organic raw materials that was privileged in the competition with more precious materials, of entirely mineral origin, such as precious stones and noble metals. Its origin in distant places, durability and solidity, as well as its exoticism, identified in the whiteness and smooth texture, contribute to be appreciated throughout the human history. Most of these works were made for customers and collectors, who delighted in the rarity of the material and the quality of the sculpture. The integrity of the piece that we now present, is justified by the link that exists between the ivory relief (where the Descent from the Cross is represented) and the silver frame (decorated with the instruments of the Passion of Christ), the latter of which may have been executed for the first.This excellent example is very similar to another that we found in the collection of the Victoria & Albert Museum in London (A.30-1949). This same attributed to the German artist Balthasar Permoser (1651-1732). Without knowing for sure the iconographic font used by the artist, it is possible to identify some works that, hypothetically, will have served as a reference for a composition on this theme.As an example, we identified the altarpiece of the main altar in the chapel of the Monte di Pietà palace in Rome, made by the sculptor Domenico Guidi (1625-1701).17x10,5 cm (marfim)40x28 cm (total)
Lot 749
Ebonised woodGilt and raised bronze mounts of foliage decorationBronze sculpture to door depicting a cello player and pinnacle with the Greek god HermesGilt bronze dial of Roman numbering and engraved "FIEFFÉ A PARIS"Mechanism engraved "FIEFFÉ A PARIS" to reverseStrikes hours and half hoursFrance, 18th century(minor losses, faults and unchecked mechanism)Provenance: D. Manuel de Souza e Holstein-Beck Collection, Count of Póvoa. 130x47x21,5 cm
Lot 796
Chiselled and gilt bronze and cut crystalHunting scenes decoration with dogs, hares, birds, ferrets and ibex framed by foliage motifs and scrollsFrance, 19th centuryA pair of seven branch candelabraHeight: 66,5 cmA large 12 branch centrepieceHeight: 51x58cmA pair of three tier fruit bowlsHeight: 60cmA sweet meat dish and coverDim.: 37x27cmFour bowlsDim.: 22,5x27cmTwo bowlsDim.: 25,5x27cmOne bowlDim.: 18,5x23,5cmOne bronze standDim.: 16x14,5cm(one crystal bowl missing; losses and faults)
Lot 70
Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed part of the group of works completed between 1988 and 1996 and exhibited as Bronze Voices. The twenty-two sitters included carry a resonance that belongs to a very particular and significant period in Irish cultural and political history. While the characters of Flanagan's sitters are at the heart of these works, they are also closely related to the highly abstracted three-dimensional heads he constructed while studying at Camberwell College of Art in London. With this formal analysis of the construction of the skull as his starting-point, these portraits move beyond a simple likeness or narrative and avoid any reliance on a particularly familiar element of a sitter's appearance. A comparison might be made with the British painter Euan Uglow, an earlier student at Camberwell, whose paintings of figures were absorbed with their construction, and the positioning of form in space, to achieve the most realistic and unified depiction of their subject. This detachment is held in balance by the artist's empathetic and sincere response to each individual sitter. Flanagan explores the gradual revelation between artist and sitter that goes beyond the act of looking and that conveys a more complete experience of a human presence. Seamus Heaney was a close friend of the Flanagan family and there is a sense of confidence and intimacy in this portrait. The highly physical nature of the surface emphasises its materiality as sculpture, with a loose treatment of the poet's hair balanced by the more formal structure of his features. There remains an elusive quality to his expression that suggests the complexity of Heaney's identity, a man connected with the physical landscape but whose response to it is expressed in thought and language. The head of Michael D Higgins is simplified at times almost to a point of abstraction. We are conscious of the sculptor's intervention, with marks left in the surface of the head that define its planes and recall the emphasis on drawing in space during Flanagan's training at Camberwell. In this work, he concentrates on an expression, Higgins' striking, almost inward gaze, rather than on aspects of individual features. While these two heads seem to have been directly related to concepts inspired by their sitters which elude a particular time, Flanagan notes, in relation to the third work here, that the 'triangular markings from the eyes to the mouth and down each side of the forehead is used to express the strain I could see John Hume was under during his brokering of the ceasefire', making a very definite connection between his subject and the daily events of his life. While Heaney and Higgins both appear to have their thoughts elsewhere as they are sitting, Flanagan creates the sense of a more guarded engagement with Hume. The gaze is direct but slightly withheld, perhaps because of the distance afforded by Hume's glasses, and his mouth is half-open as if deciding whether to speak. Flanagan's fluid modelling is his highly personal response to each sitter and reveals how significant the experience of sitting is to the evolution of a work. Rather than appearance being something detached and defined, Flanagan's experience of the subject's presence and their own personal history shapes his technical response. Patination is also significant for Flanagan; while he sought a 'brooding quality' in the darker patina of John Hume's head, the paler tone used for the portrait of Michael D. Higgins was a deliberate parallel to the Egyptian portrait sculpture that had inspired his approach to this work. He often seems to locate a single idea that underpins each work; for example, in portraying Seamus Heaney, 'the way the clay is modelled...reminds me of bog cuts... and I hope it gives the impression of Heaney as a bog king'. While these three subjects undoubtedly each carry strong individual associations, Flanagan's concentration on creating hieratic images that pass beyond the personal and become enduring images of human beings perhaps explains why Kenneth Jamison, on seeing Bronze Voices laid out formally in an exhibition, recalled the classical heads in the Palazzo Nuovo on the Capitoline. Like their Roman equivalents, this is a gathering-together of remarkable people but also an exploration of the possibilities of sculpture. Dickon Hall, November 2020
Lot 40
Fausto Melotti (Italian, 1901-1986)Quattro coppette (Four little bowls) each signed with seven dots (on the base)glazed ceramica)circa 1960Diameter: 14.5 cm.5 11/16 in.Height: 6 cm.2 3/8 in.b)circa 1965Diameter: 14.1 cm.5 9/16 in.Height: 6.2 cm.2 7/16 in.c)circa 1955Diameter: 13.3 cm.5 1/4 in.Height: 5.4 cm.2 1/8 in.d)circa 1960Diameter: 13 cm.5 1/8 in.Height: 6.5 cm.2 9/16 in.Footnotes:This work is registered in the Fondazione Fausto Melotti, Milan, under no. CT 728, CT 729, CT 730 and CT 731.ProvenanceAngelo Ambrosini Collection, MilanThence by descent to the present ownerBorn in Rovereto in 1901, Fausto Melotti's work is not easily defined. Working as a sculptor, painter, poet, and ceramicist Melotti moved freely between abstraction and figuration and his work is linked to Futurism, Surrealism and Arte Povera amongst others. Having grown up in a musical family, he went on to study mathematics and physics at the University of Pisa and engineering, art and architecture at the University of Milan. Music remained an integral part of his life and its influence, along with his scientific expertise can be found throughout his practice. At 27 Melotti enrolled in the Accademia di Belle Arti di Brera in Milan where, in the Plastica della figura class of the prominent symbolist sculptor Adolfo Wildt, he met Lucio Fontana who would become a lifelong friend. Whilst both Fontana and Melotti went on to produce a considerable ceramic oeuvre, Melotti was long best known for his lithe metal sculptures and Teatrini (Mini Theaters or Puppet Theaters). Ceramics would only really become a main focus of his practice towards the end of the Second World War, after his studio was destroyed in the bombardments of Milan, initiating a period in which the artist would focus exclusively on the production of ceramic and terracotta works. His experimental and hugely prolific foray into the ductile and intriguing material resulted in bas reliefs, abstract vases, lustrous bowls and plates, ashtrays, small ceramic sculptures, and whimsical teatrinos and he frequently mixed ceramics with steel or iron. Highlighting the beautiful iridescent glazes so characteristic of Melotti's ceramics, the present collection of works wonderfully showcase his mastery of the medium and his acceptance that he would never be fully in control of the finished product. To work in ceramics, means to hand over part of the artistic process to the kiln and the fire and according to the artist, that was why many traditional sculptors shied away from the medium. The glazes in countless shades of blue and soft pinks are interlaced with metallic accents that enhance the elegant design and feel of their vessels and gives each pot a delicate, gem like quality. As stated by Melotti, 'For an artist, ceramic is a material like bronze or marble. Ceramic may even be a more fascinating material because of the mystery in which it is born from. [...] The adventure of the piece of ceramic that enters the oven amorphous and emerges in full party dress is the source of an exciting joy, an indefinite limit between sense and beauty. It's like a holiday trip into a world that is more fairy-like [féerique] than magical, a world where expressions like joy in work find value and meaning. (The artist in: Antonella Commellato, 'Lotta. Materia prepotente Cervello luminoso', in Antonella Commellato and Marta Melotti, Fausto Melotti. L'opera in ceramica, Milan 2003, p. 27)Melotti was an integral part of the artistic and intellectual fabric of post-war Italy. A contemporary of Alexander Calder, parallels can also be drawn between the sculptures of Alberto Giacometti and throughout his life he stood in regular artistic exchange with some of the most revered artists of the age, such as Lucio Fontana and Gio Ponti. Today, his work is held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Rome, and the Gori Collection in Pistoia, among many others.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
Lot 136
Arman (French, 1928-2005)Colère Europa Multiple, 2003, gilded bronze violin in plexiglass resin, incised with the artist's signature and numbered 62/99, with a bronze base, 733 x 503 x 160mm (28 7/8 x 19 3/4 x 6 1/4in)(overall)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
Lot 8352
Aufsatz einer Musketengabel, Niederlande, um 1600 Bronzene Gabel mit kräftiger dunkler Alterspatina. Die beiden Enden in Form von Drachenköpfen gearbeitet. Balusterförmiger Dorn mit kräftigem Schraubgewinde. Höhe 10,5 cm. Provenienz: Süddeutsche Privatsammlung. Zustand: II - A Dutch bronze musket rest, ca. 1600 Bronzene Gabel mit kräftiger dunkler Alterspatina. Die beiden Enden in Form von Drachenköpfen gearbeitet. Balusterförmiger Dorn mit kräftigem Schraubgewinde. Höhe 10,5 cm. Provenance: Süddeutsche Privatsammlung. Condition: II -
Lot 202
A French or Italian patinated bronze model of a prancing horse, probably 18th century, in the style of Francesco Fanelli, with flowing mane and a band surrounding the middle, mounted to a rectangular rosso di Verona plinth, 16.5cm high, 17cm wide overallCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a variegated dark brown with areas of black, it is relatively shiny. There is a very fine barely perceptible seam to the raised front leg, either a join or possible minor repair.There is an old repair to the base, presenting as a dark line along the width of the plinth (circa 8cm). Condition Report Disclaimer
Lot 52
A Continental gilt bronze pricket altar stick, first half 18th century, probably Italian, cast with a Solomonic stem and a triform base with cherub masks to each side, raised on claw and ball feet, with removable urn form candle socket, 81cm high overall; and another, similar, smaller, 72cm high overall including candle socket
Lot 161
A French or Italian patinated bronze model of a Shepherd boy after the Antique, first half 18th century, portrayed standing beside a textured tree trunk, a wolf skin draped over his shoulder, on a canted rectangular base, stamped with the French 'c couronne' control mark, 26.5cm high, 8cm wideThis bronze takes its inspiration from a 1st or 2nd century Roman marble, which is itself a copy of a Greek original. While the marble is now in the collection of the Louvre, it was previously at the Villa Borghese, Rome.The 'c couronne' was a French tax mark struck on bronzes over a certain weight between February 1745 and February 1749. The 'C' stands for cuivre (copper), one of the components of the bronze alloy.
Lot 31
An Italian black patinated bronze model of the Herculaneum Satiro Ebbro, later 18th/early 19th century, portrayed nude and reclining on a lion-skin covered rock, mounted to a rectangular bardiglio marble base, 15.5cm high, 14cm wideThe present bronze takes its inspiration from the large Roman bronze of the drunken satyr, excavated at the Villa dei Papiri in Naples in 1750, now in the collection of the Museo Archeologico Nazionale.
Lot 162
A patinated bronze table salt in the form of a clam shell, 19th century, naturalistically modelled overall, raised on a stem cast with coral sprays and mounted to a rectangular black marble base, 10cm high, 12cm wide Condition Report: Mid-brown patina overall, with small traces of gilding. A handful of small chips and nibbles to edges and corners of the base, though overall the lot is in perfectly presentable condition.Condition Report Disclaimer
Lot 300
An Italian patinated bronze model of a putto with a dolphin after Andrea del Verrocchio (1435-1488), late 18th/early 19th century, on a domed circular socle, 12.5cm high, 7cm wide; and a patinated bronze model of Cupid, portrayed holding a quiver of arrows and seated on a domed base, 9.5cm high
Lot 50
An Italian patinated bronze figural inkwell with Atlas supporting the globe, in the manner of Severo Calzetta da Ravenna, possibly 18th century, the crouched, bearded figure seated on a circular base raised on paw feet, 19cm high, 14cm wideThe present lot takes its inspiration from inkwells produced in the Paduan workshop of sculptor Severo Calzetta da Ravenna (1465-1543), who was renowned for his whimsical small-scale bronze inkwells, lamps and other objects in bronze, often incorporating mythological themes. An example of related design is in the Metropolitan Museum, New York. It is there noted that the ink basin in the raised hand would likely once have supported a large globular oil lamp.
Lot 204
A green patinated bronze model of Mercury after Giambologna, second half 19th century, the deity portrayed balancing on his left leg, on a stepped circular white marble and granite socle and square plinth, the bronze 51cm high, overall height 72cmCondition Report: Mottled green patination. Lacking elements including wings to helmet and staff. The edges of the base have some chips and nibbles.The arm has a casting join from manufacture and there is some radial movement between the feet and wings.Condition Report Disclaimer
Lot 160
A French parcel gilt and patinated bronze model of a centaur, early 19th century, of small proportions, portrayed holding a bow and arrow in his raised arms, on a rectangular socle, 10cm high, 7cm wide overallCondition Report: Tiny firing crack to the front left leg. Some very slight bending to bow and arrow.Condition Report Disclaimer
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