Lionel Dalhousie Robertson Edwards, RI (British, 1878-1966)Foxhunter signed 'Lionel Edwards' (lower right)oil on canvas 50.8 x 61cm (20 x 24in).Footnotes:The present lot is a preparatory work for Lionel Edwards's portrait of Lieutenant Colonel Harry Llewellyn on Foxhunter. Sir Henry Morton Llewellyn bought Foxhunter in 1947 and the pair would go to win 78 international competitions in their joint career including three victories at the King George V Gold Cup at the International Horse Show in 1948, 1950 and 1953, they remain the only pair to win the event on three occasions. However, it was to be at the 1952 Summer Olympics in Helsinki where Llewellyn and Foxhunter would have their greatest success. Having won bronze in the team show jumping event four years earlier in London, Llewellyn rode Foxhunter through a clear round to secure team gold in 1952, it was Great Britain's only gold medal at the games. Llewellyn was knighted for his services to sport in 1977.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
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After Jean de Boulogne, called Giambologna (Italo-Flemish, 1529-1608), a Continental patinated bronze model of the Rape of the Sabine Women, probably 18th century, the central male figure portrayed restraining a nude maiden, above a further crouching male, on a circular section marmo nero Belgio and rouge marble socle, 46cm high overall, the bronze 34cm high This bronze is a reduction of Giambologna's celebrated group of the Rape of the Sabine Women, which was executed in marble in the early 1580s and unveiled on 14 January 1583 in the Loggia dei Lanzi, Florence. Though a popular group with Italian makers and Grand Tourists during the 18th and 19th centuries, the dark patination, relatively heavy cast and hand-finished features of the present lot recall examples associated with Netherlandish workshops, such as the cast of Giambologna's Nessus and Deianeira recently offered at Sotheby's London, Royal and Noble, 21 January 2020, lot 3 (property from Killadoon House, Ireland).
A pair of Louis XV Chinoiserie gilt bronze chenets, third quarter 18th century and later, each with a seated figure in Oriental dress above a shaped foliate base cast with rocaille and oak leaves, with brass billet bars to rear, 34cm high, 36cm wide, 37cm deep Provenance: Property from the Collection of the late Max Harari The present lot exemplifies the popularity of Chinoiserie themes during the 18th century, and many renowned bronziers including Jacques Caffieri are known to have included figures in oriental costume in their designs. For a similar pair with please see Christie's London, 22 May 2019, lot 202.
A Continental painted cast iron and metal standard lamp or torchere, in Pompeiian Revival taste, late 19th century and later adapted, probably Italian, the electrical fitment rising from a twin handled neo-classical urn, above a circular platform and three scrolling chain linked branches, the tapered cylindrical stem cast with stylised bamboo and descending to three panther-mask monopodia, on a triform base, approximately 230cm high overall including the ovoid shade A pair of related models in bronze, with similar 'bamboo' stems and feline mask feet, was sold at Christie's South Kensington, Kinross House, Scotland And Property Removed From The London Residence of Mrs. Winston Spencer Churchill, 30 March 2011, lot 17
A Continental, probably Italian, patinated bronze model of the Borghese gladiator, after the Antique, late 18th/early 19th century, portrayed heroically nude, heroically nude, stretching forwards with his shield arm extended, the right hand drawn back in preparation for a sword thrust, on a rectangular plinth, on a rectangular plinth, 21cm high overall, the base 19.5 x 9.5cm
An Italian patinated bronze of the Bacchic Faun or 'Faun in Rosso Antico', after the Antique, probably Rome, first half 19th century, the grinning faun portrayed standing and nude for a draped goat's skin around his shoulders, raising a bunch of grapes with his right hand and holding a curved club in the other, flanked by a tree trunk with pan flute to one side, and with a goat leaning on a wicker basket to the other, on an integral octagonal plinth, 36cm high, 21cm wide The present model is a reduction of the Faun in Rosso Antico marble which was excavated before 1741 at Hadrian's Villa. The marble group was subsequently given to the Capitoline Museums by Pope Benedict XIV in 1746, where it was met with admiration. The workshop of Giovanni Zoffoli is known to have produced reductions of the Faun, and an example of very similar size and patination by this maker is at Anglesey Abbey. See Francis Haskell and Nicholas Penny, Taste and the Antique, The Lure of Classical Sculpture 1500 - 1900, Yale, 1981, 39, fig. 111, pp. 213-15 Cf Christie's New York, 13 April 2016, lot 23.
A Continental bronze allegorical model of a maiden, probably personifying Abundance or Autumn, 17th century, French or Italian, the maiden standing and fully draped, holding a writhen cornucopia in her right hand, and raising a further fragmentary attribute, possibly wheat sheaves, with her left, on an integral chased circular base and mounted to a further marmo nero Belgio plinth, the bronze 18.5cm high, overall height 31cm A very similar example of this rare model appeared at Chiswick Auctions, December 2016, which had been in the collection of Dr Charles Avery, former keeper of Sculpture at the V&A. It was there described as circle of Barthelemy Prieur, late 16th/early 17th century. The sculpture certainly shares similarities with some of Prieur's oeuvre, such as the figure of Abundance by Prieur from the monument to Anne de Montmorency, though parallels with later 17th century bronzes can also be found. Note for example the Italian statuette of a Goddess after the Antique in the collection of the Metropolitan Museum of Art, New York, 24.212.25, which shows a maiden with similar hairstyle and equally abundant drapery.
A pair of Empire gilt bronze and moulded glass etageres, circa 1820, in the manner of work by Pierre-Philippe Thomire, the acanthus and palmette cast baluster shafts each with a circular handle and two graduated dishes, above an engine milled circular socle and scrolled paw feet, 36cm high, the larger dishes 25cm diameter Provenance: Property from the Collection of the late Max Harari
A pair of Empire or Restauration gilt bronze four light wall appliques in the manner of examples by Pierre-Philippe Thomire, circa 1815, each with a central raised urn socket above three reeded sockets on foliate cast drip pans, on scrolling foliate cast branches issuing from baskets of fruit held aloft by winged herms; themselves each issuing from an acanthus cast cornucopia, with conforming acanthus cast wall plates, 37cm high, 23.5cm wide, 25.5cm protuberance Pierre-Philippe Thomire (1751 ~ 1843) was the outstanding Parisian bronzeur and gilder of the early nineteenth century. He supplied finely chased mounts to leading Parisien ébénistes for furniture, clocks and the Sèvres porcelain factory, and he was much patronised by Napoleon who made him Ciseleur de l'Empereur. His work represents some of the finest examples of what became known as the Empire style, and examples can be found in the Grand Entrance and Marble Hall at Buckingham Palace, the Getty Museum in Los Angeles and many other collections besides.See Christie's New York, Treasures of France, 24 October 2012, lot 177 for a very similar pair of wall sconces. Also at the same rooms, Arts of France, 2nd November 2000, lot 128.
λ James Osborne (1940-1992) Eclipse Bronze Signed, dated and numbered Osborne 89 7/100 on the integral oval base 17cm high, 25cm wide overall including variegated marble plinth The present bronze depicts Eclipse, the famous, undefeated 18th-century racehorse. It is a reduction of Osborne's half life size model of Eclipse which was unveiled at Newmarket in 2003. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λ Olga Lanner (Swedish, 1884-1961), a patinated bronze model of a whippet, naturalistically portrayed with right foreleg raised and extended; the oval base inscribed Olga Lanner 1930- in the maquette; atop a rectangular pink limestone socle, 70cm high overall, the bronze 63cm high, 89cm long Olga Lanner was a sculptor, metalworker and painter who was connected to the Rackstad Group. Several of Lanner's works in silver are in the collection of the National museum, Stockholm. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λPierre Vaudrey (French, 1873-1951), a patinated bronze model of the grave monument to Robert Bain, the standing youth resting his hand on the head of the hound to his left side, flanked to his right by a plinth covered with ivy and inscribed ROBERT BAIN 1894 - 17 MAI 1904, the naturalistic rectangular section plinth cast with two military caps and with further inscription P. Vaudrey S.teur SALON 1905 to the foreground, on a moulded rectangular section rouge griotte plinth, 68cm high, 44cm wide, 32cm deep Robert Bain was the son of wealthy French merchant and inventor Auguste Bain, whose rise from humble beginnings to bourgeois society exemplifies the rise of the middle classes during the later 19th century. After Robert's tragic death from illness at age 14, his father embarked on an extensive campaign to commemorate his son. This included the creation of the avenue Robert-Bain in the village of Bois-Colombe on the outskirts of Paris, where the Villa Beausejour, the family residence, was situated.He also commissioned Pierre Vaudrey, a specialist funerary sculptor, to create his son's grave monument at Père-Lachaise. Vaudrey studied in his grandfather's masonry workshop and at the Ecole des Beaux-Arts in Lyon. After moving to Paris, he became a successful ornamental carver and monumental sculptor. Vaudrey was known for his ability to sculpt from photographs, and it is possible that this posthumous funerary sculpture was also created in this manner, as it strongly resembles existing photographic imagery of the young Robert Bain. The present lot is likely a maquette or exhibition model for the group that graces the family tomb. The work is recorded as number 3686 in the illustrated catalogue of the 1905 salon, as 'Vaudrey (P.), rue Merlin, 16. - Monument de R. B.' Vaudrey is also known to have exhibited a further bronze bust derived from the model at the Salon des Artistes in 1908 λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λClaire Jeanne Roberte Colinet, (French, 1880 - 1950), the Sleep of Narcissus, a bicolour patinated bronze model of a nude youth, portrayed asleep and seated on a rocky outcrop, his head bent forward and resting on his left knee; inscribed Cla. R. Colinet in the maquette, 45cm high, 49cm long Colinet was born in Brussels and trained there under Jef Lambeaux before moving to Paris in 1910, where she rose to become an important part of the Art Deco movement. Though primarily known for chryselephantine dancers, Odalisques and Orientalist groups, for the present lot Colinet took inspiration from mythological subject matter, which makes the model quite a unique part of her oeuvre. A plaster version of the present model was sold at Sotheby's London, 19th and 20th Century Sculpture Including Highlights from the MEAM Collection: Part I, 11th December 2014, lot 50. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Circle of Ignaz Franz Platzer (Bohemian, Pilsen 1717 - Prague 1787), a gilt bronze allegorical group of a maiden and cherub, mid 18th century, probably an ecclesiastical architectural element, the draped maiden portrayed embracing the winged infant above, possibly representing an allegory of Love or Devotion, with indistinct markings to the hollow cast rear, 77cm high, 30cm wide Ignaz Platzer was one of the main proponents of late Baroque Sculpture in Prague, known for his masterful combination of the exuberant Baroque tastes of Bohemia, with the restrained classicism of Vienna, where he was trained. The present lot, with the dramatic twist of the maiden’s body and rotund proportions of the putto, recalls in particular the expressive gilt bronze sculptures adorning the chancel of St Nicholas Church in Prague, which hover over the nave in equally gravity-defying poses. Note for example the billowing drapery and unusual arrangement of the feet, which, when the bronze was mounted to a wall or altar, would have created the impression of floating or flying. A carved wood model of Mary Magdalene attributed to Platzer with a very similar effect appeared at auction at Neumeister Kunstauktionen in Munich on 24 June 2009, lot 352, and Platzer is known to have executed a similar polychrome and giltwood example of St Elizabeth of Hungary. Other works by Platzer appear in the Schönbrunn Palace Gardens in Vienna and at Prague Castle.
Attributed to Harry Bates ARA (British, 1850-1899), a patinated bronze model of Pandora, probably a maquette, the kneeling figure portrayed holding a casket, mounted to a cuboid green serpentine plinth, the bronze 9cm high, 16cm high overall including base Harry Bates was an important part of the late 19th century New Sculpture movement, alongside renowned sculptors such as Frederic, Lord Leighton and Sir Alfred Gilbert. He began his career as an ornamental carver, and primarily created classically inspired reliefs during his early years. Pandora was one of Bates' first ventures into three-dimensional statuary, and is arguably his most iconic piece. It was exhibited at the Royal Academy in 1890, and entered the Tate collection the following year, having been acquired for the nation. The combination of marble with the ornately carved ivory box and precious gilt bronze demonstrates the influence of the chryselephantine sculpture popular in France, where Bates had recently trained under Auguste Rodin. The composition shows Rodin's interest in classicism, though its pensive and introspective mood is not unlike the works of Jules Dalou, under whom Bates had first studied at Lambeth School of Art. Though faithful to the composition in the Tate collection, the loose modelling and textural surface of the present work represent a contrast with the impeccably smooth surface of the larger marble, and is likely a maquette in preparation for this highly finished exhibition piece. Literature: Susan Beattie, The New Sculpture, Yale University Press, 1983, particularly pp. 166-7 David Getsy, Privileging the Object of Sculpture: Actuality and Harry Bates' Pandora of 1890, Art History, 2005, 28:1, pp. 74-95.
Charles Auguste Fraikin (Belgian, 1817-1893), a patinated bronze group of Venus and Cupid called l'Amour Captif, third quarter 19th century, the maiden portrayed nude for a light drape and balancing on her left leg, the captured amirono seated on her right shoulder, the naturalistically modelled base cast with a tree stump and a quiver of arrows, indistinctly stamped 'FRAIKIN' and 'VITTOZ BRONZIER, PARIS', 57cm high Fraikin trained in Antwerp and specialised in Neoclassical sculpture. He won a gold medal for l'amour captif at the 1845 Brussels Salon, and marble versions of the model were subsequently acquired by the Museum of Fine Arts, Brussels and the Hermitage, St Petersburg. The popularity of this model led to further consignments including a monumental sculpture of King Leopold.One monumental marble version was sold at Christie's Amsterdam, 21 November 2007, lot 1033. A similar size model was sold at Sotheby's London, 7 October 1998, lot 345.
Jean-Joseph-Alexandre Falguière (French, 1831-1900), a patinated bronze bust of Diana the Huntress, cast by the Thiebaut Frères, circa 1890, the deity with loosely modelled hair and crescent moon diadem and portrayed glancing to sinister, inscribed A. Falguière to her left shoulder, above the truncation, with foundry stamp THIEBAUT FRERES/FONDEURS/PARIS to rear, on spreading square section rouge marble socle, 59cm high Provenance: Property of Marchioness of Dufferin and Ava and thence by direct descent. The present bust is derived from Falguière's full length model of Diana, which was first exhibited in plaster at the Salon in 1882. The model was a success, and Falguiere enlisted the Thiebaut Frères to cast both the full and truncated versions, of which this lot is an example. A near identical example including Thiebaut foundry mark and rouge marble socle is in the collection of the Portland Museum of Art, and another is at the Minneapolis Institute of Arts. See also Christie's New York, 24 October 2007, lot 234.
After Giovanni Battista Foggini (1652-1725), a French patinated bronze model of the Arrotino after the Antique, 18th century, possibly from the workshop of Joseph Vinache (1653 - after 1717), the bearded male subject portrayed seated on a rock and grinding a knife on the block before him, on a textured rectangular base cast with foliage, 29cm high, 31cm wide, 16cm deep Florentine Baroque sculptor Foggini was commissioned to create a life size model of the much-admired Arrotino for King Louis XIV in 1684, to be displayed at Versailles. The Antique marble, which was first recorded in an engraving by Maarten van Heemskerck in 1532 and had been in the collection of Cardinal Ferdinando de' Medici, had certainly moved to the Uffizi Gallery by 1680. Though the work has invited many interpretations, the male subject is most often believed to be the executioner of the satyr Marsyas, whose death by flaying is described in Ovid's Metamorphoses. When Foggini's Arrotino and its pendant, a crouching Venus after the antique by Coysevox, were moved from Versailles to the Tuileries, a pair of life size models in bronze were commissioned to replace them in 1688-9. These casts have been variously attributed to the Keller foundry and, convincingly, to the specialist foundry of Joseph Vinache (1653 - after 1717). Many reductions of the Arrotino were cast around this time, including one 18th century example at the Wallace Collection, which has been suggested to originate from the foundry of Vinache due to its very similar or identical patterns of terrain to the base.The chasing, finishing and dimensions of the present lot closely resemble the model at the Wallace Collection (note for example the foliage to the plinth), which could indicate that it originated from the same foundry as that example. Of particular note is the distinctive incised roundel beside the rectangular block, which is possibly a tooler's mark.Early 18th Century versions of the Arrotino, or 'Rotatore' as he is sometimes called, have occasionally appeared on the market. See for example Sotheby's London, Old Master Sculpture and Works of Art, 8 July 2011, lot 67, where the model was sold with the Venus after Coysevox as its pendant.Literature: Robert Wenley, French Bronzes in the Wallace Collection, London 2002, pp. 42-45 Francis Haskell and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500-1900, Yale University Press, 1981, pp. 154-157
After Jean de Boulogne, known as Giambologna, (1529 - 1608), a pair of patinated bronze models of Mercury and Fame, late 19th century, both portrayed nude and supported aloft on the breath of a Nimbus, the former with caduceus wand, winged petasus and winged ankles, the latter holding a laurel sprig and a trumpet; on cylindrical marmo rouge griotte mounted relief cast bronze pedestals, the friezes with cavorting amorini, 59cm high The Mercury is one of the most famous and replicated works of the Renaissance, but was originally intended by Giambologna to be viewed on its own and importantly, from all sides -thoroughly in line with his Mannerist ideals. It was only in the 19th century that casts after the original were offered for sale as pairs, the Mercury more usually being allied with Fortuna, but sometimes with Iris, and more rarely with Fame (Pheme in Greek, Fama to the Romans) as in this case. Giambologna's original bronze of 1580 was first installed at the Villa Medici in Rome, being positioned at the order of Ferdinando de Medici atop a fountain which formed a focal point on the formal staircase between the sumptuous gardens and the loggia entrance to the Villa In 1780 the Mercury was moved to the Uffizi Museum, and then finally in 1865, to the Museo Nazionale del Bargello, Florence
MANFRED MANN. 20 x LPs, mostly UK though with some US from Manfred. To include: What a Man (SFL13003), Watch (factory sample, BRON 507) Angel Station (BRON516, two copies of, both with inners), For Sale (factory sample, EMTV 19), The Best Of Manfred Mann (NUT7), Masque (DIX69),. Budapest (stamped promo sleeve, BRON 550), The Good Earth (BRONZE ILPS 9306), Solar Fire (ILPS 9265), Glorified Magnified (6308 125), The Singles Album (EMS 1121), 1963-1966 (MFP 41 5651 1), Mann Made (mono ALM 13024), Manfred Mann's Earth Band (Japan, Philips, RJ-5030), The Manfred Mann Album (Ascot, mono, AM 13015). Condition varies, chiefly from VG to Ex+ on later titles.
URIAH HEEP. 18 LPs/comps, UK and US. Firefly (Bronze, ILPS 9483, gatefold, Ex+/Ex), The Magician's Birthday (ILPS 9213, gatefold), Look At Yourself (ILPS 9169, mirrored sleeve), Uriah Heep Live (ISLD1), Innocent Victim (BRON 504), Fallen Angel (factory sample sticker, BRNA 512), Wonderworld (ILPS 9280), Headfirst (promo stamped, BRON 545), Abominog (promo stamped, BRON 538), Equator (demo stamped, PRT 26414), Conquest (BRONX 524), Salisbury (ILPS 9152), Look At Yourself (SRM 1 614, mirrored), Uriah Heep (SR 61294), Demons (0598), Salisbury (SR 61319), High and Mighty (ILPS 9384), Return To Fantasy (BS 2869, gatefold). Condition is generally VG to Ex / Ex+.
A PAIR OF CAST IRON/BRONZE ? FIRE DOGS, which bear the exploding bomb logo of the Royal Artillery with the latin 'Ubique' at the base, very well made and constructed, written note from a previous owner stating that the items once adorned the Officers Mess at the R.A., Woolwich Barracks and were removed in the 1970's
5 Dinky Toys. TV Related 'Gabriel' Ford Model T from Gerry Anderson's 'The Secret Service' (109), in black and yellow livery, complete with driver. Volvo 265DL Estate (122) in light metallic blue with light brown interior. Princess 2200HL Saloon (123). In metallic bronze with black interior. Lamborghini Marzal (189) in white and metallic green with red interior. Plus a London TAXI (284) in black with light grey interior. All boxed, minor wear. Vehicles VGC-Mint. £70-90
5 Dinky Toys. 4 North American Cars. Buick Riviera (57/001. In light blue with white roof and red interior. A Nash Rambler Fire Chief's Car (257) in red with dished spun wheels. Both VGC and in good boxes. Plus 2 others, Chevrolet Impala (57/003) in cream with white roof and red interior and a Plymouth Fury Sports (115) in white with red interior, complete with figures. Both QGC, some chipping, hood detached to Plymouth. Both boxed, some wear/damage. Plus a Holden Special Sedan (196). In metallic bronze with white roof and pale blue interior, dished spun wheels and black tyres. Boxed, minor wear. Vehicle VGC, minor chips only. £80-120
4 Dinky Toys. Morris Mini Minor Automatic (183) in metallic red with textured black roof and white interior. M.G.B. Sports Car (113) in off white with red interior. Jaguar 'E' Type (120). In bright red with cream tonneau black plastic roof and white white interior. Plus a Holden Special Sedan (196). In metallic bronze with cream roof and light green interior. All boxed, minor/some wear/damage. Vehicles VGC a few minor chips. £70-90
A 19th century French bronze mounted porcelain lamp base, painted with panels of flowers, height overall 54cm Condition: Some wear to the bronze where the extremities have been polished over the years, light wear to the gilding but otherwise good condition, slightly bent out of shape at the top
A pair of late 19th century French bronze figures of muses, each standing holding flowers, height 31cm Condition: Both with a dark chocolate brown patination to the costume and a lighter golden tone to the flesh, the lighter golden tone showing wear and spotting particularly on the arms, casting remains crisp and good, one numbered or dated 1906, the other 1907, to the side of the base.
A Sino-Tibetan bronze figure of a seated female deity, on associated marble plinth, height 35cm Condition: Figure with holes through the right breast and the left leg just above the knee, otherwise equally holes to the back as can be seen in our photographs, even overall dark chocolate brown bronze patination, plinth is later and has a small chip to the back of the base.
A 19th century Chinese sword, with shagreen and bronze mounted scabbard, the mounts slightly loose, with a fullered steel blade, overall length 82cm, sword length 80cm.Condition: The sword with hilt bent to the left, grip probably original, bronze of the hilt an even dark brown green tone which looks to have wear from use, blade crudely fullered and oxidised, scabbard starting to split where it is joined along the base with wear and lifting to the tip, two old glue stains to one side where possibly there may have been additional mounts.
Thirteen assorted mainly Chinese hardwood vase stands, largest diameter 17cm, height 12cm Condition:- largest stand with scroll legs a little faded and uneven of colour but otherwise good- similar scroll leg stand matted finish but otherwise good- bronze pierced stand - internal base diameter 7.5cm - wear from use- small scroll base stand - internal diameter 7cm, good- ebonised stand dull finish otherwise good- glossy stained softwood stand - internal diameter 10.5cm- smaller stained glossy stand - internal 6.5cm- other stands with signs of wear from use but otherwise fair condition
A Chinese bronze bell gong, on dragon carved hardwood stand, height 37cm Condition: A little dusty but otherwise good, wirework set into the hardwood frame, some small cracks running beneath the eyes of the right dragon, more notable damage and re-gluing to the left dragon, fitted to the back with a later wall mount.
A pair of 19th century French bronze and ormolu candelabra, with scrolling branches, cherub stems and foliate scroll bases, height 58cm Condition: Sconces have at some point been drilled and threaded for electrical fittings, branches rather wobbly and not fixed in position, one of the two is leaning to one side and will need straightening out, gilt work has a slightly matted and lightly rubbed appearance, oxidisation commensurate with age.
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