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Lot 327
AFTER JEAN DE BOULOGNE, CALLED GIAMBOLOGNA (1529 - 1608), A CONTINENTAL PATINATED BRONZE MODEL OF MERCURY ALIGHTING, late 19th century, portrayed as nude but for light drapery across his loins, wearing a petasus helm, the caduceus held in his left hand, supported on his left foot by a Nimbus; atop a cylindrical pedestal relief cast with putti representing the Arts and the Sciences, on a square section marmo nero Belgio socle, 84cm high
Lot 330
ITALIAN PATINATED BRONZE MODEL OF THE POMPEIIAN DANCING FAUN, late 19th century, after the Roman original excavated in 1830, portrayed in ecstatic dance, with hands raised, with an oak and acorn wreath around his horned head, his tail issuing behind him, on a rectangular base 81.5cm high overall Note: The Roman version unearthed in 1830 is almost certainly a copy of an earlier Greek bronze. The Pompeiian example acquired instant fame, largely because of its completeness, small size, and the rarity of surviving bronzes. Indeed, the excavated house in which it was discovered was named after it - the House of the Faun The Dancing Faun soon became a favourite subject for reproduction, aimed at the modest gardens and interiors of aspiring aesthetes. Another feature attractive to the refined tastes of the nineteenth and twentieth centuries was the fact that the faun seemed to be joyous rather than drunk
Lot 331
ISAAK DUCHEMIN, (FRENCH, FL. MID 19TH CENTURY) AND AFTER THE ANTIQUE, A PATINATED BRONZE MODEL OF THE FAUN WITH CLAPPERS, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed DUCHEMIN in the maquette, 58cm high NOTE: The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since
Lot 332
FRENCH PATINATED BRONZE MODEL OF THE BORGHESE GLADIATOR, late 19th century and cast after the Antique, heroically nude, his left arm extended, the right hand drawn back with a clenched sword hilt, the rectangular base inscribed Musee du Louvre, 48cm high, 43cm wide overall Note: Found before 1611 in the present territory of Anzio south of Rome, amongst the ruins of a seaside palace of Nero, the Borghese Gladiator is now held at the Louvre in Paris. It is now thought that from the attitude of the figure the work more probably represents not a gladiator, but a warrior contending with a mounted combatant. In the days when antique sculptures gained immediacy by being identified with specific figures from history or literature, Friedrich Thiersch, the 18th/19th century German classical scholar conjectured that it was intended to represent Achilles fighting with the mounted Amazon, Penthesilea
Lot 333
PATINATED BRONZE MODEL OF NAPOLEON BUONAPARTE, second half 19th century, cast after a model sometimes attributed to Emile Coriolan Hippolyte Guillemin (French, 1841-1907); portrayed standing beside a plinth and typically attired; the square section pedestal with applied gilt metal relief of Fortuna felled, inscribed ISLE D'ELBE, 36cm high
Lot 348
PAIR OF RESTAURATION PATINATED BRONZE AND MARMO ROUGE GRIOTTE MOUNTED CANDLESTICKS, second quarter 19th century and later refitted for electricity as table lamps, the fitments set into parcel gilt Campana urns, held on the heads of standing and classically draped maidens, on stepped bases, 36cm high overall
Lot 350a
PAIR OF GILT AND PATINATED BRONZE THREE LIGHT FIGURAL CANDELABRA IN EMPIRE TASTE, early 20th century, the lanceolate leaf cast urn sockets and drip pans issuing from the mouths of serpents rising in each case from an urn, held aloft by a winged and classically draped maiden, each standing on a scale cast dome, atop square section plinths applied with further cast decoration to fronts and sides, on square bases, 63.5cm high
Lot 361
FINE CONTINENTAL, PROBABLY RUSSIAN OR FRENCH PATINATED AND PARCEL GILT BRONZE AND MALACHITE MOUNTED TAZZA, late 19th century, the tondo relief cast with the mask of Medusa, the underside with scrolling foliage, laurel wreaths and two monograms 'H' and 'DD' in low relief, the gilt stem descending to a cylindrical plinth with gilt metal stellar mounts; the square section pedestal below mounted with alternating wreaths and paterae to the sides, on a step and ogee moulded base, 42.5cm high, 26cm diameter
Lot 362
A CONTINENTAL, PROBABLY RUSSIAN MALACHITE VENEERED AND GILT BRONZE MOUNTED CENTREPIECE, 19th century with later adaption, the moulded glass dish with lobed rim and swagged exterior, supported in three serpentine uprights rising through lappet cast oval collars from a cylindrical plinth, with foliate cast finial, engine milled collar and circular socle, 49.5cm high
Lot 363
PAIR OF FINE ORMOLU AND MARBLE MOUNTED BRULE PARFUMS, ALMOST CERTAINLY BY PAUL-CHARLES SORMANI, in Neoclassical style, third quarter 19th century, each with a shallow domed dove-grey marble cover with berried finial, above an openwork collar cast with anthemia in oval reserves, the dished dove-grey marble bodies with cavetto shoulders, each mounted with three seated term maidens holding trumpets to their lips and rising from scrolled acanthus leaves; on reeded stems rising from the backs of sejant gryphons, on triform bases, atop triform marmo breccia Siena bases, each with three bun feet, 48.5cm high, 22cm wide Note: This pair of perfume burners are based upon a model in Sevres porcelain and gilt bronze attributed to Pierre-Phillipe Thomire and now in the Louvre (inv. OA 5505). The model of the horn players is similar to that of the flute players on Madame du Barry's porphyry vase, which is also in the Louvre. Paul Sormani (1817-1877) was one of the most important Parisian cabinet makers of the second half of the 19th century. He commenced business at 7 Cimetière Saint-Nicolas and in 1847 moved to 114 rue du Temple. By 1867 when he opened at 10 rue Charlot, he was at the pinacle of his sucess. A contemporary source describes his work in glowing terms, 'toute sa production révèle une qualité d'exécution de tout premier ordre' Sormani first showed his work at the 1849 Paris exhibition where he was awarded a bronze medal and again at the International Exhibition in 1855, when he obtained a first class medal. He travelled to London in 1862, where he gained another award and at the Paris exhibtion of 1867 special mention was made of his petits meubles de fantaisie. This fine pair of brûle parfums are a good example of the range of smaller objects and bibelots he produced. the business was taken over by his widow after his death in 1877 For similar examples see Christie's London, 24th February 2005, 19th Century Furniture, Sculpture, Works of Art and Ceramics, lot 33 Also Sotheby's London, M & N Uzal, 19th Century Excellence, 28th October 2009, lot 48 Also Sotheby's New York, Collections: European Decorative Arts, 13th-14th April 2016, lot 586
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