Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB007, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.211 grams, 14cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
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Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right.235 grams, 13.4cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered base with flaming aureole behind, engraved image of Buddha to the rear.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB009, p.57 & 161; accompanied by copies of the relevant exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163202-10081.474 grams,17.5cm (7").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity', and dates to the Western Qin (385-431 AD), donors to the legs of the podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.355 grams, 14.1cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A gilt-bronze figure, composition originating in the Gandharan style and displaying Central Asian features, of Buddha kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra.406 grams, 13cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Tang Dynasty, 829 AD. A gilt-bronze figure, influenced by the Gandharan style, of Buddha sitting on raised rectangular podium resting on a four-legged base, with separate flaming aureole to attach to a peg on the reverse; legs with engraved images of the donors; reverse of aureole with incised inscription, translating approximately as: a 'dedication by Zhang Hai requesting that his family remain safe' and 'offering Buddha forever', dated to '829 AD during the reign of Emperor Wenzong of Tang'.293 grams, 13.5cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB010, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a later date of 829 AD, a discrepancy which likely arose due to stylistic similarities between those dates.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
Eastern Wei, early 5th century AD. A hollow-formed bronze statuette, likely after the Gandharan or Uddiyana style, of Shakyamuni Buddha sitting in meditation on throne with guardian lions, prominent ushnisha and loose robe, mounting peg to the reverse for an aureole.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford.Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB004, p.56 & 159; accompanied by copies of the relevant exhibition catalogue pages.535 grams, 12.5cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fair condition.
Ptolemaic Period, 332-30 BC. A substantial bronze statue of Osiris standing wearing Atef crown of Upper Egypt with lateral ostrich feathers, frontal uraeus, false beard, crossed hands holding crook and flail, standing on a square base; mounted on a marble stand. Cf. Thomas, A.P., Egyptian Gods and Myths, Aylesbury, 1986, plate 1, a triad of gods from Saqqara. 2.4 kg total, 33.5cm including stand (13 1/4"). Property of a central London gentleman; previously the property of a private UK collector, acquired 2018; from the estate of the late Mr Robert Wilson, a collector and architect from Houston, Texas, reputed to have been in the collection since the 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163505-10054. Osiris was the greatest of the Egyptian gods and the particular ruler of the Underworld after his murder by his brother, Set. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
26th Dynasty, 664-525 BC. A substantial bronze figure of the ram-headed god Khnum advancing, wearing a pleated kilt, with an Atef crown with horizontal ram's horns surmounted by rearing ureai crowned with sun discs, a flail in his raised right hand, feet absent; mounted on a custom-made stand. Cf. Thomas, A.P., Egyptian Gods and Myths,Aylesbury, 1986, plate 12. 1.1 kg total, 28cm including stand (11"). Property of a central London gentleman; formerly in the collection of Major J. Findley [1915-1990], Scotland, acquired in the 1950s-1960s; thence by descent; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163506-10055. The god Khnum (or Khnemu) the 'Moulder' was one of the earliest gods of Egypt, worshipped especially at Philae and Elephantine, both in Nubia. He was thought to have made mankind of out of clay on a potter's wheel. It was Khnum who helped Isis to gather the severed fragments of the body of the god Osiris and re-made them. He was considered the father of the gods, along with Amun-Ra and Ptah. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
1st century AD. A hollow-formed bronze vessel support formed as a lion's claw beneath the nude bust of a female sphinx with nemes headdress with royal uraeus and flanking curled wings; ledge to the reverse; mounted on a custom-made stand. Cf. similar item in the Metropolitan Museum of Art, New York, under accession number 2000.660; Archaic Greek period. 594 grams total, 21cm including stand (8 1/4"). From a private New York collection; on the London art market prior to 2012; formerly in a private UK collection since the late 1970s.; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163225-10056. According to the Greeks, the sphinx was a vengeful and treacherous creature with the head of a woman, the haunches of a lion, and the wings of a large bird. These elements in combination proved very attractive for the creation of bronze furniture fittings and other items where the spread wings could be extended around a curved or angled surface. The present example dates from the Romano-Egyptian period (30 BC-323 AD), with antecedents in the art of the Ptolemaic Dynasty (332-30 BC) Very fine condition.
6th-2nd century BC. A matched pair of gilt bronze fittings, each a tongue-shaped plaque with pierced lug above, high-relief dragons on a raised panel. 660 grams total, 11.5cm each (4 1/2"). Property of a London lady, part of her family's collection; acquired in the 1970s. [2] Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)
17th-18th century AD. A gilt bronze figure of Buddha standing on a lotus-flower base, hands held in the vitara mudra of instruction; square base with four short legs. 5.5 kg, 54cm (21 1/2"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s. Fine condition.
17th-19th century AD. A gilt bronze figure of Buddha sitting on a rounded rock(?), with tall conical spiked headdress, jewelled robe and swags of beads, hands placed in the lap, feet resting on a stool with elephant and monkey attendants. 4 kg, 37cm (14 1/2"). Property of an East Sussex gentleman; from his private collection formed between 1983 and 1990; formerly in a South East London collection formed in the 1970s. Fine condition.
Tang Dynasty, 618-906 AD. A tinned bronze discoid mirror with one polished face, chamfered rim, feather-pattern textured field with reserved tau-cross motifs, central ribbed loop. 462 grams, 16.2cm (6 1/2"). Ex Mcquinley collection, Hong Kong and London, 1960-1990. [No Reserve] Fine condition.
Tang Dynasty, 618-907 AD. A bronze octofoil mirror with lotus flowers, tendrils, phoenixes and other details to the scooped upper face. 1.2 kg, 21cm (8 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s. Fine condition.
Late New Kingdom, 1069-945 BC. A bronze mirror with a Late Period wooden handle, the mirror with discoid face, the handle with likeness of the goddess Hathor bearing traces of gold leaf, tiered and segmented collar, curved grip with reserved chevrons and rosette finial. 660 grams, 31cm (12 1/4"). From the private collection of a medical professional; formerly in the old French collection of Mr Mandel, 1960-1975; with old label to the reverse of the handle dated 1935; accompanied by an original French certificate of exportation, number 208888. Fine condition. Rare.
Dame Lucie Rie (1902-1995). A fine stoneware conical bowl, with a bronzed manganese and brown band running into a pitted beige and cream glaze, on a slender foot, impressed seal mark, 25.5cm diameter, H. 9cmCONDITION: This bowl is in good condition. We can see no evidence of any repairs or restoration. The surface glaze is generally pitted. There are no chips to the top rim. There are three very minute nibbles to the unglazed bottom edge of the foot. There is a firing fault and slight spur to the rim on both sides where there is a longer drizzle of manganese. We can detect no restoration with a UV light.This was purchased from the Casson Gallery and described as LR8 white with bronze rim, for £120 - receipt dated Jan 21 but no year!
A large Chinese lacquered bronze seated figure of Guanyin, on a separate lotus stand, her robes engraved with flowers and foliage, H. 35cmCONDITION: There is some occasional wear to the lacquer decoration on the face, hands, chest and feet, there is verdigris all over with some dusty grubbiness in places otherwise generally in good condition with no restoration, chips losses or cracks. Weight 8.23kg.
A Chinese lacquered bronze seated figure of Guanyin, possibly Ming dynasty, holding a ewer in both hands and seated on a lotus throne, H. 31cmCONDITION: Most of the lacquer decoration has flaked off. There are occasional small dents and areas of wear otherwise in good condition. Weight 4.08kg
A Chinese lacquered bronze seated figure of Xi Wangmu, late Ming dynasty, holding a cloud in her left hand, indistinct label stating that the figure was a prize won by a soldier in the Belouchistan Volunteer Rifles, H. 38cm including later wood standCONDITION: There are extensive cracks running from the shoulder and chest down across the right arm of the figure and down the right leg at the front with some evidence of some old solder repairs around the area, there are some losses to the figures head dress and to two fingers on her right hand, there is also a later solder repair to the left side of the leg and robes, bears an on label underneath which has flaked away in places and is slightly difficult to read, the original lacquered decoration is flaking off in many areas and generally very grubby, the later wood stand has some splits along the joins of the block work.
A fine and rare Chinese gold splashed bronze globular tripod vessel, 18th century, crisply cast and chased with 'bat mask' ring handles between lappeted borders, on three caparisoned elephant head feet, splashed all over in gold, apocryphal Xuande two character seal mark, 19.5cm high, 20cm wide, with Qing dynasty triple ruyi-head hardwood stand, total height 28.5cm
Ch. Gaultier, Bordeaux. A late 19th / early 20th century French bronze and ormolu mantel clock, modelled with Cupid holding a cockerel, with floral painted enamel dial, unsigned eight day movement, on a Sienna marble plinth and ormolu toupie feet, height 15.75in. width 10.25in. depth 6in.CONDITION: Overall in somewhat neglected condition, bronze of the cherub is a good rich chocolate brown but has some green verdigris where the left leg meets the ormolu case, cockerel has a dull ormolu finish, main body of the clock ranges from mid gilt to dark tone with pronounced green oxidisation or verdigris showing on the left side, dial perhaps a little dirty but otherwise looks good, signed CH. Gaultier, Bordeaux, movement looks complete but lacks pendulum and key, very minor fritting around the edges of the marble base, feet a little dull in finish, overall in need some restoration but a very high quality clock.
A late 19th century French bronze mantel clock modelled as a globe supported by an eagle, the numerals with corresponding signs of the zodiac alongside, on oak leaf base and black slate plinth with bronze toupie feet, eight day movement stamped J.B.D, width 14in. height 13in.CONDITION: Overall in honest untouched condition, bronze is a very dark chocolate brown and of slightly matted finish to the sphere with a little more polish to the eagle and raised areas of the leaves, movement intact with pendulum, going but not tested for timekeeping, hands probably original but bent and oxidised, slate plinth with minor chipping to the extremities.
A 19th century French bronze and simulated Sienna marble mantel clock, surmounted with Cupid seated upon a naturalistic base, unsigned eight day movement striking upon a bell numbered 367, width 13in. depth 5.5in. height 21in.CONDITION: Bronze in good order of a dark chocolate tone, some very minor surface dents and scratches, dial oxidised with the numerals now worn and the maker's name illegible, hands look original, simulated Sienna marble looks to be some sort of composition, a little soft in the moulding at the edges and painted to reasonable effect but now a little worn from polishing, a few small scattered chips around the edge of these sections, lower right foot bent backwards, movement complete and going but not tested for timekeeping.
A mid 19th century French bronze and ormolu portico clock, of ornate architectural form, decorated with foliate scrolls, leaf motifs and flowerheads, with silvered Roman dial and adjustable bi-metallic pendulum, eight day Pons countwheel movement dated 1827 and stamped B.P. & F, 3873, width 12.5in. depth 7.75in. height 25in.CONDITION: Slight rubbing to the bronze across the top just from polishing over the years, ormolu has a matted finish and is a little dirty, base plinth is slightly out of alignment with the ormolu mount above it showing one hole dead centre, dial oxidised, was once signed but that is now erased, movement complete, runs then stops and lacks a bell, not tested for timekeeping.
A 19th century French bronze and rouge marble mantel clock, surmounted with a bronze figure by Bouret of a country girl holding a flower, the architectural base inset with an enamelled floral painted arabic dial, eight day movement, width 15in. depth 7in. height 21.5in.CONDITION: Overall in good condition, the bronze of rich dark chocolate brown patination, very slight rubbing to the tops of her feet, marble base again in good order, one or two tiny nicks around the edges but nothing of any note, movement not tested for timekeeping, comes with an associated key.
A Charles X French bronze and Sienna marble mantel clock, surmounted with the figure of a riderless horse, the architectural base with engine turned silvered Roman dial signed Noel Aine à Dijon, width 12.5in. height 17.25in.CONDITION: Overall in somewhat neglected condition, the bronze very dirty and dusty, horse is a dark chocolate patination with some light rubbing to the extremities, naturalistic base below the horse is a lighter golden green tone, case with some chipping and cracking at the edges and damage to the lower inset plinth section, movement not going, dial faded.
Bailey Chippenham Fecit. A George III walnut cased bracket clock, in plain case with engraved brass dial and twin fusee movement, width 11in. depth 7.75in. height 17in.CONDITION: Overall rather poor condition, case a very dark reddish brown tone with a poor state of polish and numerous small dents, splits and minor losses, bronze top handle has lost its gilding, front door is locked shut with no key present, dial signed at the top and engraved with flowers to the corners and a landscape to the centre, hands look to be later, back door with replacement moulding down the left side and damage to the pierced angles, lock open but no key, movement looks to have been adapted over the years, a conversion to anchor escapement and probably other additional work, signature to the back of the movement looks like a later addition, comes with probably the original pendulum which has a broken steel spring, no winding key present.
An early 18th century style crossbanded walnut bachelors chest, with burr wood inset folding top, two short and two long drawers, on bracket feet, W.2ft 4in. D.1ft 2in. H.2ft 4.5in.CONDITION: Overall of a faded mid to light walnut tone which is a little more bleached on the top, the top flap is warped out of shape and shows small dents, scratches and minor cracking commensurate with age, inside the folding top the veneers have lifted a little and have a number of fine cracks running throughout, back boards are vertical pine, lopes have small bronze knob handles, drawers have fairly thick oak lining, original locks, probably later handles and a working key, some lifting of the moulding between the drawers, middle drawer has the escutcheon out of place, drawer linings to the base of the drawers are separating, bracket feet with minor dents and chips commensurate with use, looks to be an old probably 19th century reproduction.
A 19th century bronze and brass sextant with hardwood handle, inscribed 'R.J.Paul Keane R.P.' in original case with accessories, 9.5in.CONDITION: Original case worn commensurate with age, with a split at the corner and the brass cartouche plaque lifting away, internally original baize now heavily worn, sextant and accessories are all tarnished, sextant being a green bronze tone with brass and silver scale, looks like one small accessory is missing from the left hand side.
A late 19th century Swiss inlaid walnut and kingwood eight air musical box, the lid inlaid with a brass and hardstone central cartouche, sides with cast bronze handles, lid with attached play list, Quatuor Expression, listing the eight airs and playing upon a 17 inch cylinder with four combs, width 34in. depth 14in. height 10.5in.CONDITION: Case a little faded and would benefit from repolishing, lid is slightly domed and has a fine hairline crack running from the left side in towards the middle and scattered small dents and scratch marks commensurate with age, printed play list just about fits inside the lid, no key present, cylinder looks to be in good order, all teeth of the combs are present, does play, although all metal work is somewhat oxidised, particularly the combs and the plaque where the selection levers are placed, small ivorine escutcheon to the front is broken with a small piece missing, ebonised plinth heavily scuffed and scratched, but overall fair to good condition and ripe for restoration.
Everard Meynellbronze composition'Welcome the New Year', life sculpture of a young girl with arms outstretched, standing upon a composition stone plinthnumbered 14/30W.3ft 10in. H.6ft 7in.CONDITION: Overall a weathered finish to the flat bronze toned patination, some shinier patches showing, minor scuffs and scratches throughout, a fine hairline crack running through approximately half of her left arm from the top to the back, two fingers loose on her left hand, two fingers missing from her right hand, plinth weathered with some losses to the front left edge.
Carrier Belleuse. A late 19th century French ormolu bust of a young woman, with ribbon tied hair, signed in the bronze, seated upon a bronze socle and rouge marble plinth, height 11.75in.CONDITION: Overall a little rubbed from polishing over the years with the extremities of the gilt rubbed to the bare metal and oxidisation in the crevices, socle discoloured, looks to have had a more matted gilding at one point, marble plinth with a small chip to the top front edge, and otherwise rather dirty.
A pair of 19th century French bronze chenets, modelled with sphinx beside squared columns on stepped scrolling bases, length 14in. height 22in.CONDITION: Both in honest untouched condition and of a dark chocolate to blackish brown patination with some signs of polishing over the years to the raised extremities, designed to sit side on to the viewer.
A 19th century French ormolu three branch wall light, with foliate scroll branches emitting from a Chinese mask and oval backplate, height 14in., together with an early 19th century French ormolu candlestick, height 10.5in.CONDITION: Wall light of slightly matted but original gilt finish, not fitted for electricity, some oxidisation spots and overall rather dusty and dirty but essentially good untouched condition.Candlestick a little rubbed with the base bronze showing through in places, otherwise a little oxidised and dirty but essentially good.
Irene Rochard. A French Art Deco bronze model of a prowling panther, on black marble plinth, width 26.5in. depth 7in. height 10.5in.CONDITION: A greenish to light brown patination which looks to be original, some very light rubbing from polishing particularly to the tops of the ears, signed in the bronze on the tail, plinth has some small chipping to all of the corners.
Karl Hagenauer. A brass and ebonised bronze figure of an African water carrier, with vase on her head and brass rings around her neck and one leg, on integral plinth base with maker's stamp, height 46in.CONDITION: Brass work in fair state of polish, ebonised bronze work has had much of the original patination rubbed away over the years, base is a little scuffed but overall honest condition.
Eugene J. Urbain (1855-1934). A parcel gilt bronze figure of a Middle Eastern dancing girl, signed in the bronze, on green marble plinth, height 13.5in.CONDITION: Mostly retaining original dark green patination but slightly rubbed at the extremities, otherwise one small chip to the back corner of the plinth, otherwise good condition.
An Art Deco bronze and three colour marble clock garniture, with silvered dial and eight day movement, surmounted with models of two seated hounds, clock width 21.5in. height 12.25in. urns height 9.25in.CONDITION: Overall in good untouched condition, minute chips to the front bottom edges of the marble plinth, very slight rubbing to the bronze on the extremities, not tested for timekeeping, vases with light rubbing to the green patination and oxidised inside but otherwise good.
P. Huguenot. An Art Deco bronze and three coloured onyx group of a medieval lady and two hounds, on stepped plinth, width 28.5in. height 17.25in.CONDITION: Overall in good original condition, slight rubbing to the extremities such as tips of dogs noses, very minor fritting around the edges of the base particularly left and right corners.
Attributed to Irene Rochard. A French Art Deco PATINATED SPELTER model of a panther drinking from a stream, on stepped marble plinth, width 16in. depth 7.25in. height 8.75in.CONDITION: Hollow cast bronze in good order with dark brown even patination, plinth with minor chipping at the corners and back right corner.
A French Art Deco PATINATED SPELTER model of a prowling panther, on two colour marble plinth, width 21.75in. depth 6.25in. height 10in.CONDITION: Overall in very good original condition, the bronze a light to mid brown patination, with very slight surface oxidisation, marble plinth with minute chipping at the corners.
After the antique. A bronze figure the Venus de Milo, standing on naturalistic base, with green verdigris patination, height 33in.CONDITION: A little dirty, one small hole between near her right armpit that looks to have been part of the casting process, small rub marks, some white spotting near her mouth, otherwise good condition.
Aristide-Onésime Croisy (French 1840-1899). 'Le Nid', a bronze group of two children sleeping upon a buttonback chair, signed, height 12in. width 10.5in. depth 10in.CONDITION: Overall of olive green to mid brown patination, a little lighter on the children's skin tones than elsewhere, some small rub marks and minor old scratching commensurate with age and polishing but essentially good condition, signed upon the chair on the right side, looks to be a seperate bronze plinth.
Eugène Marioton (1854-1933). A bronze figure of a victorious archer standing with arms aloft, signed in the bronze, on rouge marble plinth with 1902 French presentation inscription, height 26.5in.CONDITION: Overall rather dark and dirty with a dull deep brown to chocolate patination, with rubbing and surface scratching scattered throughout as well as signs of rubbing from polishing to the raised sections, marble plinth with chipping around all of the corners, inscribed with a presentation to The Treasurer of the Chamber Syndicale des Miroities, two drill holes either side of the inscription suggesting it was once covered up.
Jules Aimé Grosjean (1872-1906). A bronze figure of Pierrot standing holding a ball, originally fitted with an electric lamp, signed in the bronze, height 17.5in.CONDITION: Overall good original condition with a dark brown to greenish patination, the original lamp holder appears to be loose within the body of the figure but is not attached to the edges and the coloured bulb now fitted may well be a later replacement, otherwise in good condition although the raised hand is slightly loose.
§ Muriel Joyce Bidder (1906-1999) A bronze group, 'Tackled' depicting two rugby players, Fine Art Society casting after the 1932 plaster original, numbered 4/8, H.15.75 L.21in.CONDITION: Overall in honest condition, slight rubbing to the top of the foremost players hair and a few small white paint specks but overall in good order with a chocolate brown patination running to a darker green.
Paul Joseph Raymond Gayrard (French 1807-1855). A bronze animalier study of a sleeping deerhound, on naturalistic base and green marble plinth, width 6.5in.CONDITION: Overall very dirty with oxidisation on the bronze and slight rubbing at the extremities, appears to be unsigned, plinth looks original with minute chipping around the edges.
Auguste Joseph Peiffer (French, 1832-1886). A bronze group of a putto with a setter, standing upon naturalistic base, with rouge marble plinth, signed in the bronze, width 9.75in. depth 4.75in. height 8.25in.CONDITION: Overall the bronze is a mid chocolate patination but with later highlights where it has been polished over the years, dusty and dirty in the crevices, signed front left, the plinth has small chipping to all of the corners.
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