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Lot 172
GROUP OF SIX INTAGLIO ENGRAVED GLASS TASSIE 'GEMS', late 18th or early 19th century, including a rectangular blue example, AN ANCHOR, "Spero Meliora", (no.740), 1.7cm wide; a clear rectangular example, THE EYE OF PROVIDENCE & AN ANCHOR, "Our Trust and Hope", (no.480), 1.5cm high; a rectangular blue example with a bird above her nest with Latin inscription above, 1.6cm wide; a dark green rectangular example with Cupid and a wheelbarrow of flowers, inscribed CHOISISSEZ, 1.5cm wide; two smaller examples; and a Roman bronze coin Provenance: The Miller-Williams Collection of Tassie Intaglios The avid and erudite Dorset collector Mrs Margaret Miller-Williams, forms her fascinating collection of Tassie glass intaglios, related seals and imprints. The group, assembled over many years of sharp eyed hunting in shops and markets in the UK and abroad, is a small but strongly representative part of William Tassie's (1777 - 1860) huge output. Miller-Williams' original interest in the Tassie Neoclassical phenomenom was originally fired by a close friend who as a great great great great niece of Tassie's had inherited a large collection of the engraver's own intaglios, and who gave Miller-Williams her duplicates, to get the collection started William Tassie himself, nephew of James Tassie (1735 - 1799) who was also a gem engraver, had a famed collection of over 20,000 intaglios. It is thought that between them, the Tassies could reasonably be credited with the reintroduction of the ancient skill of Intaglio gem engraving, and their work meshed perfectly with the newly fashionable Grand Tour and the general and ubiquitous vogue for all things Neoclassical. The sheer quality of their work brought great acclaim, and their intaglios found their way into many great collections, including that of Catherine the Great of Russia -that cumulation now held at the State Hermitage Museums The bracketed numbers in the following lots relate to the full listing 'A CATALOGUE OF THAT PART OF MR WILLIAM TASSIE'S EXTENSIVE COLLECTION OF IMPRESSIONS FROM ENGRAVED GEMS, CONSISTING OF DEVICES AND EMBLEMS...', printed by W.Nicol, London 1830
Lot 685
FINE AND SUBSTANTIAL CONTINENTAL PATINATED BRONZE AND ITALIAN SERPENTINE MARBLE DESK STAND, late 19th century, surmounted by a model of a seated and classically draped maiden, perhaps Cleopatra, looking down at a hand mirror, on a klismos stool; flanked to each side by inset inkwells with domed and foliate cast covers; the shaped base with pen recess, raised on four toupie feet, 36cm high, 60cm wide, 35.5cm deep
Lot 714
VICTORIAN BURR WALNUT AND GILT BRONZE MOUNTED TEA CADDY, circa 1880, of rectangular form with ebony strung edging, with three openwork cut and engraved scrolling foliate straps from front to back over the hinged cover; the interior with twin subsidiary caddies with hinged domed covers, flanking a cut glass vessel. 16cm high, 30cm wide
Lot 740
SMALL QUANTITY OF NEAR EASTERN ANTIQUITIES, comprising a fragmentary terracotta bust, possibly 7th century B.C., 11cm high; a fragmentary terracotta bucranium, possibly circa 800 B.C., 6cm high; a circular bronze hand mirror, possibly Roman 1st century A.D., 14cm high; and a terracotta oil lamp Provenance: The first three items are listed on an old receipt issued by P.Kolokasides, Nicosia, Cyprus, presented with the lot
Lot 743
PAIR OF PATINATED BRONZE MODELS OF THE MEDICI VASE, cast after the Antique, each with egg-and-dart cast everted rim, the bodies with a figural scene in relief probably representing the sacrifice of Iphigenia, each with twin reeded handles rising from satyr's masks, above beaded and knopped shafts to circular fluted bases, on square socles, 31cm high, 23cm diameter
Lot 745
ITALIAN VERDIGRIS PATINATED BRONZE MODEL OF A WINGED VICTORY OR NIKE FIGURE, probably Chiurazzi Foundry, last quarter 19th century, portrayed in the manner of the Samothrace Nike with wings outstretched and drapery billowing, a laurel wreath in her extended right hand, 71.5cm high, 48cm wide
Lot 746
AFTER FRANCOIS GIRARDON, (FRENCH 1628-1715), A PATINATED BRONZE GROUP, 'THE RAPE OF PROSERPINA', mid 19th century, with Pluto portrayed as 'heroically nude', carrying the partially draped Proserpina aloft as he steps over one of her companions; the integrally cast rectangular base atop a gilt bronze openwork scrolling foliate and rocaille cast base, 66cm high, 30.5cm wide Note: Girardon completed his marble group of the 'Rape of Proserpine' for the gardens at Versailles in 1699, having very clearly been strongly influenced by Bernini's version of 1621, in Rome. From the late seventeenth century onwards, and in particular throughout the eighteenth century, it was reproduced as a small bronze. The group represents a passage from Book V of Ovid's Metamorphoses in which Pluto, having risen from his underground realm to inspect the damage caused by an earthquake in Sicily, is struck by Cupid's dart and compelled to carry the nymph Proserpina (Persephone) back to the underworld. The third figure is probably Cyane, another nymph who attempted to resist Pluto; she found herself transformed into a river, dissolved by her own tears
Lot 748
PIERRE-JULES CAVELIER, (FRENCH 1814-1894), 'PENELOPE' a patinated bronze model in Neoclassical taste, the queen portrayed in loose drapery and sleeping in a klismos, stamped in the maquette to the reverse for 'J CAVELIER' and 'REDUCTION MECHANIQUE', further inscribed 'BARBEDIENNE FONDEUR', 24cm high, 20cm wide
Lot 749
NEAPOLITAN PATINATED BRONZE MODEL OF NARCISSUS, cast after the Antique by the Michele Amodio Foundry, late 19th century, portrayed standing and nude but for sandals, an animal skin slung over his left shoulder, on a circular waisted socle with stylised foliate cast edging, 62cm high Note: The Amodio Foundry was one of a small group of bronze founders that flourished around Naples in the 19th century, following the rapid rise of interest in the taking of the Grand Tour. An integral part of the experience for the wealthy northern European travellers in Italy was to visit the emerging ruins at Pompeii, and foundry houses such as the prolific Chiurazzi & Fils, Sommer and De Angelis & Fils were established to respond to the desire for good quality and academic souvenirs, as is represented by this model of Narcissus As for the Roman original, currently held at the Museo Nazionale in Naples, it was unearthed as recently as 1862 but was very quickly acclaimed as a masterpiece. Haskell and Penny stated that 'It was the last antique statue to be discovered in Italy which enjoyed enormous fame...'. (Taste and the Antique, Yale University Press, 1981)
Lot 753
CONTINENTAL PATINATED BRONZE GROUP OF THE THREE GRACES, last quarter 19th century, portrayed as standing, adorsed and loosely draped overall; supporting an urn above their heads, with foliate cast and waisted finial, with three aegicrania supporting festoons and above dolphon feet; all atop a triform socle, 53cm high
Lot 754
*RAYMONDE SUDRE, (FRENCH 1870-1962), Mercury ('Depart de Mercure'), gilt bronze, portrayed standing and nude but for a loincloth, the caduceus held in his raised right hand, bending to adjust his talaria with his left hand; the integrally cast base inscribed SUDRE in the maquette and with 'BRONZE GARANTI AU TITRE' stamp, 53cm high*Artist Resale Right may apply to this lot
Lot 755
PAIR OF GRAND TOUR SOUVENIR NEAPOLITAN BRONZE MODELS OF ROMAN KANTHAROI, late 19th century, after the Roman silver 'Centaur cups' excavated at Pompeii, each with twin looped handles rising from the rim and descending past ovoid bodies cast in high relief with centaurs and amorini, the slender stems each on a shallow domed foot; later mounted atop square section polished black stone bases; the bronzes 16.5cm high, the height overall 21cm Note: In the Spring of 1835 after decades of upheaval, the Neapolitan government ordered the resumption of excavations in Pompeii, specifically in a street which would later be named the Strada della Fortuna, and at a house that would be called the Casa dei Vasi d'Argento (House of Silver Vases). A breathtaking hoard of fourteen vases comprising two silver Kantharoi embossed with centaurs and cherubs, upon which the current bronzes are based, was unearthed. The treasure was transferred to the Museo Archeologico Nazionale of Naples, where they still reside
Lot 756
VASSILI YACOVLEVITCH GRACHEV, (1831-1905), A RARE BRONZE EQUESTRIAN MODEL OF IVAN THE TERRIBLE, late 19th century, portrayed wearing a traditional conical fur hat and shuba cloak; the naturalistically cast base finely inscribed in Cyrillic in the maquette, 'LEV GRACHEV' to one side and the founder 'C.F. WOERFFEL' to the other, 32cm high, 29cm long cf. Sotheby's London, Russian Works of Art, Fabergé and Icons, 8th June 2011, lot 624 Also Sotheby's New York, Important Russian Works of Art, European Silver, and Vertu, 8th April 8 2014, lot 113
Lot 757
SET OF FOUR GILT BRONZE MODELS OF THE HORSES OF SAINT MARK'S BASILICA, 20th century, cast after the Antique, all naturalistically portrayed with one foreleg raised, atop rectangular stained wood bases; overall dimensions, 18cm high, 16.5cm long Note: The Horses of Saint Mark (also known as the Triumphal Quadriga), are Roman bronzes which originally formed part of a monumental quadriga group at Constantinople. The horses were looted during the 1204 sack of that city during the abortive Fourth Crusade, and brought to Venice where they were placed atop the loggia above the porch of St Mark's Basilica. They remained in-situ there until they were pilfered by Napoleon Buonaparte in 1797 but were returned in 1815 after his happy defeat at Waterloo. Modern environmental concerns lead to the removal of the bronzes into the interior of St Mark's in the early 1980s, with the emplacement of replicas in their position on the loggia above
Lot 761
*GUY BUSEYNE (B. 1961), ELISE, a patinated bronze model of a seated girl, portrayed with side parted shoulder length hair and wearing a shirt and skirt, her arms around her drawn up right leg, signed in the maquette 'Guy' and numbered '34/150', 92cm high; The bronze arranged within a painted wrought iron arbour, of arched openwork form, with slatted seat within, 180cm high, 92cm wide*Artist Resale Right may apply to this lot
Lot 770
PAIR OF WILLIAM IV SILVERED BRONZE SWAN CANDLESTICKS, circa 1835, after a design by William Bateman II for Rundell, Bridge and Rundell, the drip pans with foliate cast edges, in acanthus cast sockets on leaf clasped stems, each with three seated swans below with extended necks, on triform bases, 19cm high Cf, Christie's New York, 'Important Silver, Objects of Vertu and Russian Works of Art', 19th April 2002, lot 344, Bonhams Los Angeles, 'Fine European Furniture and Decorative Arts', 10th September 2007, lot 119, et al
Lot 774
ITALIAN STRIATED ALABASTER AND GILT BRONZE MOUNTED DISH LIGHT, early 20th century, suspended by four chains from a lanceolate leaf cast, knopped and waisted ceiling fitment, the dish exterior with four scallopshell mounts above foliate clasped husks, descending to an inverted stylised pineapple terminal, 62cm high overall, 60cm wide overall
Lot 778
CONTINENTAL GILT BRONZE TABLE LAMP IN RENAISSANCE REVIVAL TASTE, circa 1900, modelled as a ewer, with broad spout above a beaded, waisted and foliate cast neck, on an ovoid body relief cast with cavorting putti; the fluted and vine cast handle with seated amorino finial and descending to an aegicranium, 62cm high including later electrical fitment
Lot 781
PAIR OF CONTINENTAL GILT BRONZE AND PORCELAIN MOUNTED THREE LIGHT CANDELABRA IN ROCOCO REVIVAL TASTE, mid 19th century, the foliate cast sockets and drip pans rising on tendrilous stems from behind the seated figures of a young man and a maiden, on rocaille cast bases, 31.5cm high, 27cm wide
Lot 782
TWO SIMILAR PATINATED BRONZE TABLE LAMPS IN THE REGENCY EGYPTIANISING TASTE, after designs by William Bullock, both with reeded and foliate cast baluster shafts, above spreading triform bases, each with a relief cast mask to each side, raised on bpaw feet beneath lobed volutes, 62 and 56cm high respectively, overall including electrical fitments Note: William Bullock, (ca. 1773 - 1849) was brother to the now better known furniture designer, George Bullock. In Regency England though, William was arguably the better known -as a prominent naturalist, collector, antiquarian, manufacturer and designer
Lot 793
PAIR OF GILT BRONZE AND MARBLE MOUNTED FOUR LIGHT FIGURAL CANDELABRA, second half 19th century, in Empire style, each with two pairs of engine-milled sconces held out by a standing winged maiden, the cylindrical plinths with conforming mounts and engine-milled collars, on square bases with toupie feet, 51cm high x 24cm wide
Lot 800
GILT BRONZE SIX LIGHT CHANDELIER IN REGENCE STYLE, early 20th century, the electrical fitments in urn sockets on broad drip pans, on rectangular section scrolling foliate cast arms issuing horizontally from the knopped, waisted and foliate cast shaft, with hanging ring finial, 58cm high, 86cm wide
Lot 809
FRENCH SILVERED AND GILT BRONZE MOUNTED AND CLOISONNE ENAMELLED FIGURAL DESK TIMEPIECE, third quarter 19th century, retailed by Maison Alphonse Giroux, Paris; the miniature carriage timepiece by Aiguilles within a howdah on the back of an elephant with mahout; the timepiece with platform escapement and Roman and Arabic dial with retailer's name within a gilt metal and bevelled glass case; the howdah canopy and aprons all with enamelled foliate decoration, with conforming decoration around the oval onyx base, 21cm high, 14cm wide François-Simon-Alphonse Giroux founded his business in 1799, with premises at 7, rue du Coq-Saint-Honoré, Paris. Dealing in luxury goods, and known for its high-quality objects such as glove boxes, caskets for weddings and baptisms, and New Year gifts, by 1834, the company also sold small items of furniture. In 1838, the company was taken over by Giroux`s two sons, Alphonse-Gustave (d.1886) and André (d.1874), who under the name of Giroux & Cie, further extended the business, showing and frequently winning medals at the Exposition des Produits de l`Industrie Française. Between 1855 and 1857, Maison Alphonse Giroux supplied Napoléon III and Empress Eugenie with furniture including a small bureau, two ormolu-mounted chiffonniers, candelabras, clocks and vases. In 1857, the business relocated to 43, boulevard des Capucines, where it remained until 1867 when it was taken over by Duvinage and Harinkouke
Lot 810
EDWARDIAN GILT BRONZE DESK COMPENDIUM, the key wind clock and aneroid barometer, divided with a thermometer, compass to the arched top the front inscribed " Hanger Hill Golf Club...... 1903-1904", standing on turned feet, side carrying handles , 20cm high, in a fitted "Howell James Limited Regent Street" presentation case
Lot 811
FRENCH BRONZE AND MARBLE MOUNTED STRIKING MANTEL CLOCK, circa 1880, with twin handled urn finial above the arched case, flanked by acanthus cast volutes, the bowfront base on four toupie feet and a foliate cast central foot; with enamel Arabic dial, the twin train movement with countwheel strike on bell, 27cm high, 18cm wide
Lot 821
GEORGE III MAHOGANY, MARQUETRY AND GILT BRONZE MOUNTED LONG CASE CLOCK, last quarter 18th century, the arched hood with fretwork top with three turned finials, above an inset foliate pierced metal arch, the glazed door flanked by stop-fluted columns with Composite order capitals; the trunk with feather marquetry spandrels above the arched door, flanked by stop-fluted quarter columns; the conforming base with bracket feet at the front; the part silvered brass Roman and Arabic dial with moonphase and date, the twin barrel movement with strike on bell; with pendulum, weights and winder, 273cm high, 53cm wide
Lot 920
VICTORIAN WALNUT, KINGWOOD AND MARQUETRY BUREAU DE DAME IN LOUIS XV TASTE, late 19th century, stamped for Edwards & Roberts, with serpentine top, front, back and sides and shallow domed fall front, decorated overall with a musical trophy, scrolling foliage and floral trails; the fitted interior with three drawers, the central one with maker's stamp, above a well; on slender cabriole legs with gilt bronze mounts and sabots to the feet, 92cm high, 75cm wide, 49cm deep
Lot 100
A Chinese Bronze Censer with Mark, 19th Century. With four feet and two loop handles. The three-character mark reads 'Yu Xun Tang' which is the name of a Scholars hall. Height 10cm, maximum diameter 16cm. Weight 1.33kg. Probably 19th Century.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 78
A Chinese Han Dynasty Black Pottery Amphora with Bronze Appliqués. Twin-handled jars of this general type have been found in excavations dating as far back as the Spring and Autumn Period (770-475 BC). Although perhaps not obviously Chinese in design, this type of vessel is one of the most iconic forms of Han Dynasty pottery and is thought by many archaeologists to be anthropomorphic, with the shape and "swirling" design of the main body based on the female human form. The surface burnished, with combed decoration around the neck and incised decoration and “dimples” to each handle. The body and handles adorned with a total of fourteen bronze appliqués. Height 16.5cm. Han Dynasty (206 BC – AD 220).Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 96
A Rare Chinese Western Zhou Dynasty Bronze Chariot Bell c.1100-771 BC. This rare and interesting bronze bell would have originally been fitted to a horse-drawn chariot, ringing constantly as the chariot went along. It still has its bronze ball inside the bell section so shaking it will make the same sound that was heard over 2,500 years ago! The surface has corroded due to long burial and there are extensive malachite deposits. Height 15cm.Reference: almost identical examples were excavated from a chariot burial in Baoji City, Shaanxi Province in 1974 (see "Imperial China: The Art of the Horse in Chinese History").Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 97
A Chinese Warring States Bronze Mirror (Ex. Bluetts / Lepileur Collection). Cast in low relief with stylized interlocking phoenixes. Patina with malachite and cuprite encrustation. Warring States period (475 – 221 BC). Diameter 13.5cm. With fitted box with label of Bluett & Sons, London.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton, and previously in the Jean-Claude Lepileur Collection of Chinese Archaic Bronzes & Works of Art.For a very similar bronze mirror, see the Metropolitan Museum of Art, New York, accession number 1985.214.19.
Lot 98
A Chinese Antique Bronze Bowl & Cover with Two Seals marks. With malachite accretions to the surface and signs of long burial; the diagonal impressions to the accretions on the bowl suggest it lay at an angle on top of another vessel. Different seal marks to both cover and base. To the cover this reads 'Monk in Kyoto' and to the base it reads 'Chu Xiu Gong' otherwise known as Palace of Gathered Elegance in Beijing's Forbidden City notable among the consorts who lived here though the Ming and Qing dynasties was the Empress Dowager Cixi. Diameter 14cm.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
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