DAVID WATSON STEVENSON (1842–1904) MARBLE BUST OF A GIRL (MARIA), DATED 1879 bears inscription verso D.W. STEVENSON A.R.S.A. SC./ EDIN. 1879; raised on an associated mahogany column plinth, with carved floral swag decoration, the fluted sides with husk-carved stop fluting (Dimensions: bust 56cm high; column 108cm high) (Qty: (2))(bust 56cm high; column 108cm high)Footnote: Note: Renowned for his portrait sculptures in bronze and marble, David Watson Stevenson is arguably most recognised for his bronze rendering of William Wallace, which can still be seen on the Wallace Monument in Stirling. His naturalistic depictions of figures such as Mary, Queen of Scots, James VI of Scotland and Robert Tannahill won him many accolades, shortly after his 8 year apprenticeship with sculptor William Brodie in the 1860s. Stevenson frequently exhibited at the Royal Academy in London and, by 1876, he was elected Associate at the Royal Scottish Academy.Condition report: Bust: In good general condition although with quite a lot of surface dirt and a few scuffs to marble here and there, eg fringe, folds of blouse One or two tiny chips here and there; one to lace trim, LH facing puff sleeve and a larger chip to LH facing puff sleeve One or two minor further marks here and there across the piece Matched column: In reasonable condition with crisp carved detail Top rim has two large chips running along the moulding The garland has a few minor chips here and there to petals but nothing significant Otherwise minor marks, nicks, scuffs and surface scratches here and there, consistent with age and use
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LARGE GEORGIAN STYLE OAK BRACKET CLOCK, WINTERHALDER & HOFMEIER LATE 19TH CENTURY the bell top case with a central gilt brass flaming torch finial and smaller flaming urns to the corners, above an arched dial with three winding holes and a silvered chapter ring with Roman numerals and subsidiary 'Slow/Fast' dial to the arch, flanked by angels with gilt bronze mask and floral mounts and raised on paw feet, the eight-day movement stamped W&H SCH. and striking on five gongs (Dimensions: 55.5cm high, 29.5cm wide)(55.5cm high, 29.5cm wide)Condition report: Lyon & Turnbull does not guarantee any clock to be in working order. Condition reports are supplied on general appearance and condition. Please see our Conditions of Sale for Buyers, item 12(2) for additional information on the purchase of clocks, timepieces and mechanical instruments. clock is in an overall unrestored condition, although fundamentally intact the case is a bit tired in appearance with old varnish that has rubbed away and dirt and dust accumulated; some sun bleaching and water stains. The back door is slightly warped but will close. mounts are all present but with much of the gilt surface worn away and will require regilding. the dial is generally clean having been protected by the glazed door, colours are bright, some minor rubbing to the chapter the movement is in need of a clean and tuning up, the gongs have a light coating of surface rust; overall signs of damp the movement does run and the chimes play but require cleaning Westminster chimes includes pendulum and winding key, no case keys
NETHERLANDISH OR GERMAN BRONZE FIGURE OF SEATED HERCULES 17TH/ EARLY 18TH CENTURY dark brown patina, raised on a stepped black marble plinth (Dimensions: 17cm high, 24cm overall)(17cm high, 24cm overall)Footnote: Note: Hercules is shown sitting on a rock covered by the pelt of the Nemean lion, one of his most recognisable attributes. His posture, with the fine and realistic rendering of the lean, muscled body and the powerful curve of the back is reminiscent of a long-standing sculptural tradition that leads the path from the late fourth century Greek sculptor Lysippos to Auguste Rodin’s The Thinker in the 20th century. While the lion’s pelt and wooden club make it clear that the sculpture is meant to be the Greek hero, the other attributes are more uncommon. The wreath encircling his head is probably made from the leaves of the white poplar tree, which was consecrated to Hercules according to Roman mythology: he destroyed the giant Cacus on Aventine Hill, which was covered in white poplar trees. After his triumph, he wound a branch of the tree around his head as a token of victory. In the Roman Hercules cult, people offering ritual sacrifices to him were always crowned with the leaves of this tree. What he is holding in his left hand is harder to distinguish, but it could be the apples from the garden of the Hesperides, relating to Hercules’ eleventh labour. Undoubtedly inspired by the Roman marble fragment known as the Belvedere Torso in the collection of the Vatican Museum, this bronze figure of a resting Hercules is just one of countless examples of artworks based on the Roman original. The 1st Century Roman fragment, itself a copy of a lost Greek original of the 3rd or 4th century BC, was praised and studied after its discovery in the 15th century. The torso was so well regarded by Michelangelo that it became known as ‘The School of Michelangelo’. Facsimiles in plaster and print were circulating from the 16th century, with engravings producing a reversed image of the torso, as seen in an engraving by Netherlandish artist Jan de Bisschop (1628-1671), [Fig. 1], from Signorum Veterum Icones . For artists unable to travel to Rome, engravings were crucial for establishing a visual repertoire of classical references. In the present example, the sculptor has incorporated the torso into a study of Hercules, while the original subject is still debated. A compositionally similar bronze of Christ as the Man of Sorrows, attributed to the circle of Adriaen de Vries (1556-1629), on Loan to the Fitzwilliam Museum, utilises the same twisted torso as the present lot and is indicative of the 17th century Netherlandish school of sculpture. A bronze of the same subject sold Bonham's, London, 15 April 2008, lot 27.Condition report: Handsome bronze with dark brown and reddish brown patina, good casting; with various small manufacturing/casting anomalies, such as small holes and gouges to the surface, including gouges and holes to both arms, gouges to left leg, holes under groin and one hole to back of base (by lion); some rough casting to the recessed area at back of right foot; a little rubbing and/or minor small losses here and there to patina including to top of left arm, left hand side of chest, and back corner of base; small knock/denting to side of figure's right knee and left side buttock Base with a small chipping and bruise to one corner; two further corners with some minor nicks at very bottom edge; otherwise with a few light surface scratches and marks here and there, but sturdy and fit for purpose Figure is separate from base and comes loose from it
CONTINENTAL BRONZE FIGURE OF THE BELVEDERE HERMES 18TH CENTURY dark brown patina, raised on a black marble plinth base (Dimensions: Overall 36cm high)(Overall 36cm high)Condition report: general good condition and appearance some unevenness to the patina with several small areas where the patina appears to have been worn or come away small casting fault just below the nape of the neck, another below the sternum dirt and dust in the recesses plinth with some small chips and nibbles on the edges
FRENCH TERRACOTTA PORTRAIT ROUNDEL OF ÉTIENNE CHARLES DE LOMÉNIE DE BRIENNE 18TH CENTURY in profile relief, facing sinister and simulated as bronze, inscribed in French verso 'Donne par lui même au 1777/ a puis disan je nos donne a vous', with a handwritten biography of the sitter, in a giltwood frame, 18.5cm diameter; together with a LOUIS XIV COMMEMORATION BRONZE MEDALLION, with a profile of Louis XIV and inscription LVD MAGNVS FRAN ET NAV REX P.P., the opposing side with the sun above the world flanked by inscription NEC PLVRIBVS IMPAR/ 1674, 8cm diam. (Qty: (2))
THOMAS THORNYCROFT (1815-1885) QUEEN VICTORIA ON HORSEBACK bronze, dark brown patina, signed T. THORNYCROFT FECIT/ LONDON 1853 and inscribed ART UNION OF LONDON/ 1854 (Dimensions: 54cm high, 65cm wide approx.)(54cm high, 65cm wide approx.)Footnote: Note : Arriving at the Great Exhibition in 1851 visitors were met in the central courtyard by a larger-than-life plaster statue of Queen Victoria on horseback by Thomas Thornycroft. The composition, believed to be derived from an engraving of Victoria reviewing the troops at Chobham, was greatly admired by the sovereign and Prince Albert. Some critics however, felt this version, which showed Victoria in contemporary dress on her lively Arabian horse, too modern, with The Times reviewer going so far as to brand it ‘too anatomical’. Nevertheless, it was favoured by the Queen and used later with some alterations for a large bronze group to accompany an equestrian figure of Prince Albert outside St George’s Hall, Liverpool, completed in 1869. The Art Union of London commissioned Thornycroft to complete fifty statues in bronze, and awarded them as prizes between 1854 and 1859, of which the current lot is one. As part of the commission, he repositioned to horse’s legs, changing them from the plaster version shown at the Great Exhibition. Other examples are in the Royal Collection and the collection of the V&A. Thomas Thornycroft, the son of a farmer, spent four years as an apprentice to the Sculptor John Francis, marrying his daughter Mary, also a sculptor, in 1840. He exhibited at the Royal Academy from 1839 and 1874 and made numerous large commissions, including Boadicea and Her Daughters on the Western end of Westminster Bridge, and a marble group Commerce for the Albert Memorial in Kensington Gallery.
LARGE FRENCH EMPIRE GILT AND PATINATED BRONZE MANTEL CLOCK EARLY 19TH CENTURY the gilt dial with Roman numerals flanked by standing male and female Classical figures reading books, on a square plinth and rectangular base with relief plaques emblematic of the Sciences, the eight-day movement striking a bell and stamped BECHOT, raised on shaped feet (Dimensions: 41.5cm high, 41cm wide)(41.5cm high, 41cm wide)Condition report: Lyon & Turnbull does not guarantee any clock to be in working order. Condition reports are supplied on general appearance and condition. Please see our Conditions of Sale for Buyers, item 12(2) for additional information on the purchase of clocks, timepieces and mechanical instruments. overall good condition with handsome appearance with original gilding some discolouration to the gilt elements with oxidation in places and some spotting; patinated figures and other elements are in good order the dial with some flaking to the numbers and discolouration around the winding holes. the movement stamped 10051/ B and BECHOT the clock currently runs but may require maintenance or other adjustments
PAIR OF GILT BRONZE MOUNTED PORCELAIN TABLE LAMPS LATE 19TH/ EARLY 20TH CENTURY with everted rims, slim necks and moulded ovoid bodies, painted with repeating cloud-like motifs and raised on reeded and rope-form bronze bases, with modern fittings for electricity and light blue pleated shades (Dimensions: 29cm high (excluding fittings)) (Qty: (2))(29cm high (excluding fittings))
FRENCH TRANSITIONAL STYLE KINGWOOD AND COROMANDEL LACQUER MARBLE TOPPED COMMODE LATE 19TH CENTURY the shaped rectangular yellow brocatelle marble top above a pair of doors with Chinese lacquer panels depicting figures in gardens and pavilions, raised on cabriole legs, with gilt bronze chutes to the angles and mounts to the legs (Dimensions: 110cm wide, 87cm high, 43cm deep)(110cm wide, 87cm high, 43cm deep)Condition report: In a generally good overall condition Some roughness to the marble edges in places, including some minor nicks; some filled areas to the marble at the back A little sun bleaching to the wood, however generally the veneers are good colour and condition overall Mounts have good colour The lock only locks the right hand door, but the left hand door has to be shut when the right door is locked
PAIR OF REGENCY GILT AND PATINATED BRONZE TABLE LAMPS EARLY 19TH CENTURY converted from candlesticks and fitted for electricity, with engine-turned drip trays above leaf and berry cast nozzles, raised on spreading reeded columns terminating in triform bases with paw feet and plinth bases, with white pleated shades (Dimensions: 30.5cm high (excluding fittings)) (Qty: (2))(30.5cm high (excluding fittings))
FRENCH GILT BRONZE MANTEL CLOCK, ALPHONSE GIROUX & CIE., PARIS 19TH CENTURY surmounted by a putto holding drafting equipment flanked by a globe, set square and a compass, over a signed white enamel dial with Roman numerals, on an acanthus cast curved base inset with an agate roundel, the signed eight-day movement striking a bell (Dimensions: 27cm high, 23cm wide)(27cm high, 23cm wide)Condition report: Lyon & Turnbull does not guarantee any clock to be in working order. Condition reports are supplied on general appearance and condition. Please see our Conditions of Sale for Buyers, item 12(2) for additional information on the purchase of clocks, timepieces and mechanical instruments. pendulum, NO WINDER case is overall in good condition with good original colour, some rubbing to the high points the dial is in good order with no significant damage or overpainting the movement signed ALPH GIROUX and numbered 41 both front and rear door glass is in good order
PAIR OF NORTHERN EUROPEAN NEOCLASSICAL PATINATED AND GILT BRONZE CANDELABRA EARLY 19TH CENTURY with central bud-form terminals issuing leafy twin arms and seed-pod nozzles, above vase shaped bases fitted with eagles' heads, on short columns and stepped bases (Dimensions: 38.5cm high) (Qty: (2))(38.5cm high)
PAIR OF GILT BRONZE TABLE LAMPS 19TH CENTURY converted from candlesticks, with urn form nozzles raised on tapered columns with crown collars and reeded bases, on circular feet cast with palm fronds, stamped BBBB and BBB, with grey pleated shades; fitted for electricity (Dimensions: 29cm high (excluding fittings)) (Qty: (2))(29cm high (excluding fittings))
FRENCH BRONZE, CHAMPLEVÉ ENAMEL, AND ONYX CORINTHIAN COLUMN TABLE LAMP LATE 19TH/ EARLY 20TH the column in champlevé depicting fruiting branches against a turquoise ground, on a stepped onyx base with foliate gilt bronze mounts, fitted for electricity (Dimensions: 50cm high excluding fitting)(50cm high excluding fitting)Condition report: will require re-wiring general good condition and appearance for age gilding worn with some signs of oxidation to the bronze onyx with some minor nibbles to the edges in places, no major chips or losses enamel is in good order
LOUIS XVI STYLE MAHOGANY AND KINGWOOD GILT METAL MOUNTED BUREAU PLAT IN THE MANNER OF JEAN-HENRI the rectangular brass banded top with a brown leather surface over a central frieze drawer mounted with a gilt bronze plaque of cloud-borne putti emblematic of the arts, flanked by panels with swagged garland mounts, raised on square tapered legs and brass leaf moulded feet (Dimensions: 115cm wide, 74cm high, 64cm deep)(115cm wide, 74cm high, 64cm deep)Condition report: Structurally stable. Scratches, marks and knocks consistent with age and use. Minor lifting of some metalwork. Minor knocks to leading edges.
Y FINE ROSEWOOD, KINGWOOD AND MARQUETRY BUREAU PLAT 19TH CENTURY the rectangular top with a central marquetry panel depicting Europa and the Bull, against a diaper ground and parquetry border, the whole enclosed with gilt bronze mounts marked at the corners with shells, above three frieze drawers with foliate marquetry, raised on square cabriole legs, outlined with gilt brass and bronze mounts (Dimensions: 131cm wide, 76cm high, 77cm deep)(131cm wide, 76cm high, 77cm deep)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
AFTER JEAN LOUIS GREGOIRE (FRENCH 1840-1890) BRONZE FIGURE OF ERATO dark brown patina, the figure seated on a column base, signed GREGOIRE to the base (Dimensions: 69cm high)(69cm high)Condition report: Please note that the image of this item has been updated, and differs from the image in the hard copy of the catalogue - the handle to urn is lacking Good sized figure of good overall appearance Group of small scratches to figure's left knee and some lighter scratches to the inside right knee, and a small scratch to lower part of figure's left arm Surface a little patchy and rubbed in places, including figure's left shoulder, left knee (above scratches), patch to neck, tip of nose, temple of head, and some rubbing to figure's back Figure is flat at back of base, possibly suggesting it was not intended to be seen in the round, and was perhaps part of a clock garniture originally Clearly marked
FRENCH GILT BRONZE AND LIMOGES ENAMEL TABLE MIRROR 19TH CENTURY the enamelled portrait roundel on a floral ground with swag and acanthus leaves, fitted with a bevelled mirror verso, raised on tapered uprights and scrolled acanthus-form feet (Dimensions: 24cm high)(24cm high)Condition report: 15cm wide, at widest point Frame stands securely overall, ever so slightly wobbly on a flat surface but not significant In good overall condition, including mirror plate and enamel panel, few very light surface scratches here and there but nothing of note Plaque is signed, although this is difficult to see - F. BIENVENU/ LIMOGES
PAIR OF CHARLES X GILT AND POLISHED BRONZE AND MARBLE CANDELABRA EARLY 19TH CENTURY the tapered lotus and acanthus cast columns surmounted by orbs with flame finials, each issuing six scrolling cornucopia candle arms with mask terminals, raised on stepped green marble bases (Dimensions: 47cm wide, 80cm high, 49cm deep) (Qty: (2))(47cm wide, 80cm high, 49cm deep)
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