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Lot 19
A 19th century bronze classical figure, on later base, 21.5cm high together with a cast metal figure of an Olympian with arm stretched out holding a laurel wreath, 34cm high (2) . Bronze figure - screwed to a probable later base, the figure does not appear to be signed and has surface wear, bruising in part, possibly sprayed?. Olympian - raised on alabaster plinth, with split through the top of one leg and a scratch around the top of the arm hanging by his side, no signature.
Lot 8
Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. 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.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.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 Lots denoted with a 'TP' 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 14
NO RESERVE Clarke (T.H.) The Rhinoceros from Durer to Stubbs 1515-1799, inscribed by the author to Adrian Eeles, 1986 § Haskell (Francis) History and its Images: Art and the Interpretation of the Past, New Haven & London, 1993 § Malraux (André) Les Voix du Silence, Paris, 1953 § Edsel (R.M.) Rescuing Da Vinci..., Dallas, 2006 § Kozloff (Arielle P.) & others. The Gods Delight: The Human Figure in Classical Bronze, Cleveland, 1988 § Scherer (M.R.) Marvels of Ancient Rome, New York & London, 1955, illustrations, original cloth or boards, all but the last with dust-jackets, the third a little browned and creased; and a quantity of others, miscellaneous art reference including some volumes of the Walpole Society, 4to & 8vo (Qty)
Lot 267
A bronze sundial plate, signed 'I Coggs London fecit'Of typical form with gnomon, and Roman chapter ring, 21cm wide x 21cm deep x 13cm high, (8in wide x 8in deep x 5in high)Footnotes:John Coggs is recorded as working from the 'Globe & Sun against St. Dunstan's Church and Chancery Lane, in Fleet Street' between 1718 and 1733. He is known to have sold universal equinoctial ring dials and advertised a full range of instruments. He was succeeded by his son, also John Coggs (fl.1730-1759) at the same address.For further information on this lot please visit Bonhams.com
Lot 357
A rare and small James I leaded bronze mortar, probably by Thomas Giles (fl. 1605-14) of Chichester, Sussex, dated 1611With flared rim, the body cast with the date 'AD 1611', and with the initials 'TG WD' and 'P', 10.5cm rim diameter x 8cm highFootnotes:Provenance:Sold Sotheby's, February 2002, Lot 487. Illustrated:M. Finlay, English Decorated Bronze Mortars & their Makers (2010), p. 142, Figure 286.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 358
A rare and finely cast Charles I leaded bronze mortar, by William Clibury (fl. 1605-42) of Wellington, Shropshire, dated 1637With three handles, one cast as plaited cord, another a round-section loop, the third as a square-section loop, a fourth handle - possibly as the result of a casting flaw - now lacking, and cast with a shield bearing the initials 'W' and 'C' either side of a fletched arrow, the date '1637', a cross, and the initials 'IY' and 'EY, three decorative cords at the waist, 22.5cm rim diameter x 17.5cm highFootnotes:Provenance: Sold Hartley's Auction, Ilkley, 11-12 October 2006, Lot 405, part of the Hurst Collection of mortars. Illustrated:M. Finlay, English Decorated Bronze Mortars & their Makers (2010), p. 111, Figure 211, where it is noted that the Clibury foundry was of 'considerable importance' and cast (mainly) bells from the last decade of the sixteenth century.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 359
A Commonwealth leaded bronze mortar, dated 1654Probably William Cuerdon (fl.1652-78) of Doncaster, YorkshireOf flared slightly waisted form with flared rim and a pair of loop handles, cast with the date '1654' above two decorative medial bands, and cast to the other with a triad of ownership initials 'WEA', 18cm rim diameter x 14cm highFootnotes:Provenance:Sold Sotheby's, 22 May 2002, Lot 90. Literature:See Fig. 305, p. 153 of M. Finlay, English Decorated Bronze Mortars and their Makers (2010), which illustrates an almost identical mortar - bearing the initials 'TKI' - of the same date by William Cuerdon. William Cuerdon is said to have succeeded William Oldfield of Doncaster, and to have set up his foundry in 1653 (ibid., pp. 152 - 3).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 360
A Queen Anne leaded bronze mortar, by Ralph Ashton (fl. 1703 - 1728) of Wigan, Lancashire, dated 1707Of waisted form, cast to the body with a pair of 'wires' beneath the flared rim and with three more above the flared foot, with a pair of loop handles with twist-work at their centre, one side of the body cast with the date '1707', the other side cast with the triad 'RNM' all around a small heart, and scratch-marked with a saltire foundry mark, 15.5cm rim diameter x 12cm highFootnotes:Literature:See M. Finlay, English Decorated Bronze Mortars and their Makers (2010), pp. 54-7 for other mortars by Ralph Ashton cast with fine lettering, wires and hearts. A similar mortar, dated 1711, sold Bonhams, 24 April 2013, Lot 294 (£3,500).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 364
Three leaded bronze Imperial Standard bell weights for Cornwall County, two dated 1826The largest stamped 'IMP', 'WR' beneath a crown, 'C' and 'B' either side of a sword, and 'IMP', the second stamped twice each with a shield filled with rows of dots and a portcullis and the date '1826', the smallest stamped once with the same shield and twice with the same portcullis and date, the largest 16cm high, (3)Footnotes:Literature:See J. Douglas and C. Ricketts, Marks and Markings of Weights and Measures of the British Isles (1996), p. 240.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 365
A leaded bronze vessel or utensil, possibly a mortarOf broadening, cylindrical form, with bulbous rim and footrim and central cord, pierced near the footrim with an extraction hole, 6.5cm rim diameter x 9cm highThis 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 429
A George I leaded bronze 7lb wool weight, circa 1715Cast with the Royal Arms beneath the cypher 'GR', the margins with a set of unusual marks, struck twice with warden's Avoirdupois 'A', and with the Founders' Company ewer mark, and also with the weight '7lb' and an untraced mark of the initials 'LL' and 'No. 1' beneath a foliate motif, pierced for suspension and with a cavity to reserve, 10.5cm wide x 4cm deep x 16.5cm high, (4in wide x 1 1/2in deep x 6in high)For further information on this lot please visit Bonhams.com
Lot 508
An early Victorian leaded bronze bell, dated 1852With green-painted wooden stock with iron fittings, the bell cast with decorative cords and the date '1852', with clapper, 32cm diameter of mouth of bell x 32cm high to top of wooden stockThis 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 510
A 17th century leaded bronze bell, Italian/FlemishWith unusual iron mount cast in the form of a dragon, the bell cast with four cherubs, iron clapper, 16.5cm diameter x 24cm high overall (14cm high to crown of bell)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 528
An unusual and good 17th century cast brass ladle, with maker's marksThe handle stamped nine times with 'EC' or 'EG' beneath a crown, and ending in a human face beneath a pierced terminal, a two-pronged hook or stand to the reverse, 12cm bowl diameter x 41cm high Footnotes:Literature: Leaded bronze skillets by two English founders - Richard Poope of Chilham and John Palmar of Canterbury - were cast with handles terminating in human faces. Another, by John Diamond, was probably made in the South-East. All of these founders were active in the 17th century.Two skillets attributed to Edmund Giles, active in Lewes at the end of the 16th and the beginning of the 17th century, were cast with similar handle terminals. One is in a private collection, the other in Lewes Museum [Cat. No. OR 121]. See R. Butler & C. Green, English Bronze Cooking Vessels & their Founders 1350 - 1830 (2003), p. 46 [John Diamond], pp. 68 - 70 [Edmund Giles], p. 81 [John Palmar] & p. 85 [Richard Poope].Why this brass ladle is stamped nine times along the length of its handle is unclear. The marks have been struck down its centre, and some effort has been made to space them regularly: the gap between each mark is between 2cm and 2.5cm. Multiple marks, although usually in a cluster, are not unknown. See, for instance, a brass skimmer stamped six times, and another stamped three times, by the maker known only by the initials 'DT' [R. & V. Butler, A Study Collection of Marked Domestic Brass and other Base Metalware c. 1600 - c. 1900, p. 29, Numbers 41 & 42].Each of the marks to this ladle appear to have been struck with the same punch, although all, being struck by hand, and with varying force, have slight differences in appearance. No two of the struck marks to this ladle are exactly the same and some read with the initials 'EC', whilst one looks more like 'EG'. This brazier's mark does not appear in the 'Study Collection'. The marks overall shape and the crowned initials are reminiscent of mid- to late 17th century silversmith's and pewterer's marks.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 533
A late 17th century gaming purse, French or Italian, circa 1660-80Of green silk velvet appliquéd with silver thread fleur-de-lys, scrolling arrow head and motifs to the sides, and repeated to the base around a quatrefoil, lined with kidskin, 14cm diameter, together with a Victorian burgundy velvet cylinder purse, decorated with glass beads and pearls, lined with silk and a floral embroidered woollen insert, 11.5cm wide, and a panel of 20th century silk, rayon and metallic thread lampas woven with a chinoiserie design in muted shades of bronze, blue and red, 60cm x 62.5cmFootnotes:For an almost identical gaming purse see The Metropolitan Museum, New York, accession no. 2009.300.6234.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 156
A Chinese 19th C. Qing Dynasty embroidered vest. Woven with gold thread outline decoration of phoenix, deer, vases, butterflies and florals and bronze buttons. 46cm length x 52cm width. Provenance: Canadian private collection since the 1920’s. Purchased by the Grandfather of the owner during his travels to the Far East. Thus by decent and relocated to the UK in the 1960’s.
Lot 159
A Chinese 19th C. Qing Dynasty red ground silk embroidered child's robe. Decorated with embroidered floral work and five bronze buttons. 106cm width cuff to cuff x 62cm height Provenance: Canadian private collection since the 1920’s. Purchased by the Grandfather of the owner during his travels to the Far East. Thus by decent and relocated to the UK in the 1960’s.
Lot 178
A Chinese Han Dynasty (206BC-220AD) gilt bronze figure of a phoenix, hollow cast with fragment of metal core to interior with with a bronze weapon fitting with gilt decoration. Together with a cast iron Han figure of a boar and a later bronze ornamental of a Qilin (Possibly Tang). 6cm - 8cm length. (4)
Lot 96
Three Chinese late Qing Dynasty hardwood (Huanghuali) boxes and covers with bronze fittings. With 'Certificate of Authenticity' and original purchase receipt dated 16th November 1995 - 'Zitan Oriental Antiques, Wyndham Street, Hong Kong'. Sizes approx. 14cm x 13cm, 11cm x 11cm, 9cm x 9cm From an English private collection.
Lot 147
λ Francesco Marino Di Teana (Italian/Argentinian 1920-2012)Untitled (Abstract)Bronze with a silver patinaStamped with signature and dated '59 Height: 61cm (24 in.)Provenance:From the Collection of the late Ian Mylles, East SussexCondition Report: In overall good condition. Some wear to the edges of the sculpture. There are some dents/marks to the surface but these appear original to the work. Please see extra images.Condition Report Disclaimer
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