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Lot 102
A pair of patinated bronze and marble mounted models of tripod atheniennes, late 19th century, each with an urn finial with flambeau cast lid, the monopodial legs united with bossed X frame stretchers above paw feet, the triform base atop a conforming trifom marmo nero Belgio socle 38cm high
Lot 119
A pair of patinated bronze figural candelabra bases cast as tritons, inspired by Bernini and Tedesco and after designs by Josiah Wedgwood and Matthew Boulton, first quarter 19th century, modelled as opposing, each triton with pronounced musculature and facial features, their tails scrolled beneath them atop rockwork and foliate cast bases; each triton holding a twisted stemmed cornucopia to his side, the upper internal mouldings presumed to have been designed to take candelabra branches; on cavetto edged circular marmo nero Belgio socles, with metal circlets to the undersides 30cm high, 16cm diameter at the base CATALOGUE NOTES: The figures on the present lot look back to the work of Gian Lorenzo Bernini, notably the Triton Fountain in the Piazza Barberini, the Fontana del Moro in the Piazza Navona, and a fountain of the River God executed to Bernini's design in the Palazzo Estense at Sassuolo (cf. R. Wittkower, Gian Lorenzo Bernini: the sculptor of the Roman Baroque, London, 1966, pls. 59 & 88, figs. 123-4; and H. Brauer & R. Wittkower, Die Zeichnungen des Gianlorenzo Bernini, Berlin, 1931, pls.34 & 159a) However a more immediate source would appear to have been an Italian bronze of the late 17th or early 18th century belonging to the Royal Architect Sir William Chambers (See Timothy Clifford, `John Bacon and the Manufacturers', Apollo, October 1985, pp. 288-304). Certainly very similar models of the period are recorded, for instance a pair of ormolu tritons attributed to Giovanni Paolo Tedesco, a pupil of Bernini's, which appeared at Sotheby's Paris, Un Hommage au XVIIIe Siecle - Adriano Ribolzi, Antiquaire, 30th November 2011, lot 14, -these having been positively dated to some time between 1650 and 1710 by a thermoluminescence test From surviving correspondence it is clear that Chambers lent this bronze to Josiah Wedgwood in 1769, and that Wedgwood in turn made a copy of the bronze, his version often being attributed to John Flaxman but also potentially the work of William Keeling. The Wedgwood triton was certainly shown to Matthew Boulton on a visit to Soho in 1770 (cf. Finer & Savage, Selected Letters of Josiah Wedgwood, p.87; Meteyard, Life of Josiah Wedgwood, 1865, vol.II, pp.212 & 218). The bronze belonging to Chambers later passed into the Torlonia Collection in Rome and is now untraced, but a related example is in the collection of the Art Institute of Chicago (1970.464 & 465). Boulton incorporated the Triton figure in a design for a candelabrum (cf. Nicholas Goodison, Ormolu: The Work of Matthew Boulton, 1974, pp.102-103). A pair of these were manufactured to accompany the original model, and one was itemised in Boulton and Fothergill's sale as `A tryton in dark bronz, holding branches for two candles in or moulu, on a bassment of the neatly ornamentd' (A Catalogue of the Superb and Elegant produce of Messrs Boulton and Fothergill's Or moulu Manufactory, at Soho in Staffordshire, Christie's London, 11-13 April 1771, third day, lot 28) Josiah Wedgwood's examples in jasperware were promoted in Wedgwood and Bentley's 1773 pattern book, and are discussed by Robin Reilly and George Savage, The Dictionary of Wedgwood, Antique Collectors' Club Ltd., 1980, p342. Interestingly they note that Wedgwood himself described the triton candlesticks as being 'after Michelangelo' For examples of related pairs (complete with candelabra branches) see Sotheby's London, Important English Furniture Including Magnificent Chinese Mirror Paintings and English Furniture from the Horlick Collection, 5th June 2007, lot 226 Also Christie's New York, Fine English Furniture and Objects of Art, 12th October 1991, lot 11 Also Christie's London, English Furniture, 15th April 1999, lot 13 A Further pair of Triton candelabra is recorded at Birr Caslte, Co. Offaly, Ireland, (see Hugh Montgommery-Massingberd and Christopher Simon Sykes, Great Houses of Ireland, 1999, p, 68)
Lot 123
Auguste Louis Mathurin Moreau, (French 1834 - 1917), a pair of gilt bronze and marble mounted models of gourd vases, late 19th century, cast with a male and female amorino respectively, on bulbous bodies with slender tapering necks, further cast with tendrilous foliage overall, signed Aug Moreau in the maquette; on circular marmo rouge griotte socles, on metal disc bases each with retail stamps for BELLMAN & IVEY, 37 PICCADILLY, BY APPOINTMENT TO THE QUEEN to the undersides 26cm high
Lot 125
A pair of German patinated bronze models of the Flower Queen and Phryne, circa 1875, by the Stotz Foundry, both portrayed standing and nude, the integrally cast circular bases inscribed in the maaquettes REINE DES FLEURS and PHRYNE respectively, both further inscribed P Stotz & Cie Stuttgart; on cylindrical marmo rouge griotte plinths 41cm high CATALOGUE NOTES: Paul Stotz (1850 - 1899) attended Stuttgart's polytechnic from 1866-67 and in 1869 joined the art school there, along with Karl Kopp, his uncle -who worked as a sculptor in the city. On completing his training Stotz worked in his father Albert's iron foundry as a draftsman and modeller, before moving to Vienna in 1873, where he worked as a journeyman in the Hollenbach bronze foundry In 1876 Stotz moved back to the family business where he directed the newly formed department of Bronce-Waaren-Fabrik in the lower Neckarstraße 134. The production programme included furnishings, lighting fixtures, busts, statuettes, grave monuments and other fittings. In 1882, the department's ownership was transferred fully to Paul Stotz, and he wasted no time in building a new factory at Neckarstraße 142, opening as Paul Stotz & Co
Lot 129
After August Karl Eduard Kiss, (German 1802 - 1865), a sculpted white marble group of an Amazon on horseback attacked by a panther, third quarter 19th century, portrayed as draped from the waist down, gripping the horse's mane with her left hand, the panther mauling the horse to its right shoulder; the naturalistically carved base with rockwork and foliage 80cm high, 95cm long CATALOGUE NOTES: The bronze original of this work, completed by Kiss in 1842, now graces the terrace at the entrance to the Altes Museum on Museum Island, in the Mitte borough of Berlin Reproductions in marble and also bronze have appeared at auction from time to time. Cf: Sotheby's London, European Sculpture & Works of Art 900-1900, 9th July 2002, lot 158 Sotheby's London, European Sculpture & Works of Art 900-1900, 16th April 2002, lot 218 Kunsthaus Lempertz, Auction 1030 - The Berlin Sale, 24th May 2014, lot 314 Grisebach GmbH, Germany, Auction 257: Orangerie Selected Objects, 2nd June 2016, lot 317
Lot 138
Pierre-Jean David d'Angers (French, 1788 - 1856), a bronze portrait medallion of Napoleon Bonaparte, after a model from circa 1838, the relief cast figure portrayed with windswept hair and gazing to sinister and with an ornate collar, inscribed LE GENERAL BONAPARTE and DAVID to the maquette, the roundel 14.5cm diameter; a French gilt bronze portrait roundel of an infant, circa 1890, inscribed MAURICE SALON DE 87 , and Duquesnois 1887 to the maquette ; a bronze portrait relief of a lady, probably French, circa 1900, portrayed in profile and loosely modelled overall, indistinctly inscribed to lower right corner, 16.5x14.5cm; three various French bronze plaquettes, 19th and early 20th century, including a medal by Marie Alexandre Lucien Coudray depicting Orpheus, circa 1900 cast of a model designed in 1893, the largest 5.5x7cm; and a Continental carved softwood Corpus Christi, mounted on fabric backing CATALOGUE NOTES: The portrait roundel may have been part of David d'Anger's campaign to create portrait roundels of important figures, on which he embarked in 1820. The figure of Napoleon Bonaparte bears strong similarities to the iconic 1801 painting by Antoine-Jean Gros, currently at the Hermitage in Moscow. A similar example is in the collection of the Metropolitan Museum of Art, New York, 08.70.1 The medal with Orpheus is said to depict the moment where the mythological character puts Cerberus, the guard dog of the underworld, to sleep with the music of his lyre. Coudray was awarded the Prix-de-Rome for this design in 1893, and the medal was offered for sale at the 1900 International Exhibition. A very similar medal is in the collection of the Victoria & Albert Museum, A.21-1914
Lot 146
After Emmanuel Frémiet, (French 1824 - 1910), a pair of patinated bronze equestrian models, Le Chef Gaulois (Vercingetorix), and Cavalier Romain, both portrayed in stationary posture with spears held upright; the naturalistically cast rectangular bases inscribed E.FREMIET in the maquette and respectively titled to the sides 42cm high, 29cm long, and 41cm high, 28cm long respectively overall PROVENANCE: Previously in the collection of the late Professor Charles Reginald Dodwell, Pilkington Professor of History of Art and Director of Whitworth Gallery, Manchester University 1966-89; and thence by descent CATALOGUE NOTES: Frémiet specialised in small-scale bronzes of animals and also of soldiers and equestrian figures. His 1.5m high Cavalier Romain was first exhibited at the Salon in Paris in 1866 and Frémiet immediately went on to produce smaller variations on this theme As for Vercingetorix (82 - 46 BC), he was a leader of the Gauls during the late stages of Caesar's Gallic wars. He was defeated at the Batlle of Alesia and gave himself to the Roman army to save the majority of his troops. The Romans held him prisoner for five years, before parading him through Rome and executing him on Julius Caesar's orders Please note, the estimate for this lot is £500-700 and has been misprinted in the catalogue.
Lot 147
Vassili Yacovlevitch Grachev, (Russian 1831 - 1905), the Returning Cossack, a patinated bronze group of a horseman, mounted and holding a maiden off the ground in his arms to his left, the pair embraced in a kiss; the naturalistically cast oval base inscribed with Cyrillic signature and FABR C.F. WOERFFEL for the Saint Petersburg foundry house in the maquette 24cm high, 21cm long Cf: New Orleans Auction Galleries: Major Estates Auction Day 2, 14th October 2018, lot 650 Christophe Joron-Derem, Arts Graphiques Peintures et Sculptures Anciennes et Modernes Art Oriental Art D‘asie Faience & Orfevrerie Meubles et Objets d‘Art du XVIeme au Xxeme Siecle, 22nd June 2016, lot 96 Shapiro Auctions, Online Auction Including European, Russian, and Asian Art & Antiques, 12th March 2016, lot 174
Lot 151
Sir Joseph Edgar Boehm, R.A., (1834 - 1890), Suffolk Punch and Blacksmith, a bronze group of a farrier and a draught horse, the animal standing with head declined to dexter, its right foreleg raised and held between the knees of the farrier, portrayed in rustic garb and bending to his work, his tools scattered on the naturalistically cast oval base; inscribed BY J.E.BOEHM in the maquette, with applied plaque inscribed SUFFOLK PUNCH AND BLACKSMITH, THE ROYAL ACADEMY EXHIBITION 1869 41cm high, 53cm wide CATALOGUE NOTES: Sir Joseph Edgar Boehm, 1st Baronet RA was Viennese by birth but moved to England in 1862. He was a medallist and sculptor, best known for the Jubilee head of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. His oeuvre is substantial and he exhibited 123 works at the Royal Academy, from 1862 to his death in 1890. He was reputedly the Queen's favourite sculptor and this is borne out by the various and repeated royal commissions he received
Lot 154
Adrien Étienne Gaudez, (French 1845 - 1902), Retour des Hirondelles, (Return of the Swallows), circa 1900, a patinated bronze model of a maiden, portrayed as standing and diaphanously draped, her head inclined to dexter, a billowing sash held up above her, with swallows alighting variously overall; the integrally cast base inscribed A.GAUDEZ in the maquette and with applied title plaque, 97cm high, 35cm wide CATALOGUE NOTES: Gaudez was born in Lyon on 2 February 1845 and went on to study under Francois Jouffroy at the Ecole des Beaux-Arts in Paris in 1862, making his debut at the Paris Salon in 1864. He worked almost exclusively in bronze and produced a wide array of sculpture, ranging from genre subjects to military and patriotic themes. His earlier work was mostly of a classical nature but in the latter part of his career he produced some pieces that can be categorized as Art Nouveau, such as the elegant and impressive model offered here
Lot 162
Aimé-Jules Dalou, (French 1838 - 1902), four patinated bronze models of labourers; The labourer with pitchfork inscribed DALOU and stamped for A.A.HEBRARD founders in the maquette, 12cm high; atop a rectangular marble base, 14.5cm high overall The labourer with shovel inscribed DALOU Cire Perdue Susse Fres Paris and also stamped for the foundry in the maquette, 14cm high; atop a modern metal plinth, 25cm high overall The labourer with wheatsheaf stamped SUSSE FRE.. and inscribed Cire perdue DALOU in the maquette, 10cm high The labourer rolling up his sleeve inscribed Dalou cire perdue Susse F. Ed. Paris in the maquette, 15cm high; atop a modern metal plinth, 26cm high overall
Lot 164
Vincenzo Alfano, (Italian, ca. 1854 - 1897), a patinated bronze model of a boy with a cat and a mouse, after a model by Gesualdo Gatti (Italian, ca. 1855-1893); the nude youth portrayed laughing, seated on a stylised tree trunk, looking down towards the lurching cat on his right arm, and the mouse perched on his left hand 27 cm high, 13 cm wide CATALOGUE NOTES: The sculptor Vincenzo Alfano, known for his realist portrayals of the people of his native Naples, is thought to have seen Gesualdo Gatti's playful group depicting a boy with a cat and a mouse at the Naples National Exhibition of Fine Arts in 1877. He was so fond of the model that he started replicating it on a smaller scale, adding his characteristic looseness to this previously more polished, formal work
Lot 166
λ Edmund Korosadowicz, (Polish 1872 - 1964), a patinated bronze and marble mounted model of a nude maiden, portrayed bending to sinister to towel off her left thigh, inscribed in the maquette to the base E Korosadowicz 1926; atop a rectangular section, stepped marmo rosso Verona base The bronze 20.5cm high, the height overall 25cm CATALOGUE NOTES: Korosadowicz was well known as a medalist and a goldsmith in pre-war Poland, but his sculptural work in the round is very scarce. He was educated in Warsaw, Krakow and Vienna, initially working with his teacher, the most distinguished Polish goldsmith of the 19th century Józef Hakowski. Later, he studied with with F. KopaczyÅ„ski in Kraków, where settled permanently in 1897 Cardinal Puzyna commissioned Korosadowicz to make numerous pieces for Krakow Cathedral, including silver candlesticks and the bronze balustrade for the monument to Queen Jadwiga λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 167
A pair of Continental patinated bronze models of men, called the good and the bad thief, after models attributed to Michelangelo, late 19th/early 20th century, the truncated bodies loosely modelled overall, one model portrayed with head inclined to sinister, the other to dexter, mounted on associated circular metal socles 27 and 26cm high overall respectively CATALOGUE NOTES: The model on the left was probably cast after a wax model of Gestas, the Impenitent thief, often credited to renowned Florentine sculptor Michelangelo. A sixteenth-century cast of this model is illustrated in W. Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CXXXIV, then in the collection of the Kaiser Friedrich Museum, Berlin. Though the model itself is sadly lost, several drawings by Michelangelo relating to crucifixion groups exist in museum collections. See for example British Museum 1860,0616.3, which shows one of the thieves in a similar pose.The extant drawings of this crucifixion group however, as well as the rare complete groups after Michelangelo with Christ and both thieves present (including, for example, a late 16th/early 17th century example at the Metropolitan Museum of Art, accession number 37.28a-d, and one in terracotta sold at Sotheby's London, 6 July 2006, lot 144) show that the second model in the present lot may not be as closely related to the same project. The slumped shoulders and bearded visage put this figure more in line with other works by the Renaissance master, including a terracotta torso in the collection of the British Museum (1859,0719.1), which was made in preparation for the unfinished marble sculpture of the Bearded Slave (commissioned for the tomb of Pope Julius II) now at the Accademia in Florence
Lot 169
Jean-Léon Gérôme, (French 1824 - 1904), la Joueuse de Boules, (the Ball Player), a gilt bronze model of a nude maiden, portrayed standing and looking downwards over her left shoulder, with inset semi-precious stone eyes, a ball held in each of her hands; the oval base cast with three grotesque male masks, all with inset semi-precious stone eyes, two of them each with a ball in the open mouths, the third with mouth agape; inscribed J.L.GEROME and stamped for the founders SIOT-PARIS in the maquette; Atop a shaped and waisted quatreform section striated onyx socle The bronze 53cm high; the height overall 63cm COMPARATIVE EXAMPLES: This model is apparently something of a rarity, and Gerome concentrated more on painting anyway, but similar models have appeared at auction. Cf: Sotheby's London, 19th and 20th Century Sculpture, 14th December 2016, lot 92 Sotheby's New York, Collections: European Decorative Arts, 9th June 2017, lot 152
Lot 170
An Austrian cold painted bronze model of a northern cardinal, possibly from the Vienna factory of Franz Bergman, naturallly cast standing, the underside stamped GESCHUTZ and FB 13cm high, 15cm long And a Viennese cold painted bronze inkstand modelled as a songthrush on a branch, early 20th century, Bergman factory, the head turned to sinister and hinged to open to the hollow interior, the underside stamped GESCHUTZ and rather indistinctly BERGMANN 11cm high, 25cm wide overall
Lot 173
λWilliam Newton, (b. 1959), a patinated bronze model of a horse, naturalistically cast and portrayed prancing, on a shaped base, signed, dated and numbered in the maquette W.Newton 88 2/6, on an oval stained hardwood socle 32cm high overall, 34cm long λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 174
λAfter Roger de Minvielle, (French 1897-1965), a patinated bronze equestrian group entitled Taine, later cast after a model from circa 1932, the rider portrayed in Cadre Noir riding cap and attire, seated atop a naturalistically modelled horse, the textured oval base inscribed Minvielle in the maquette 31cm high, 31cm wide The present lot depicts the renowned thoroughbred horse Taine with its rider, Colonel Xavier Lesage. The pair won the gold medal for individual dressage with a spectacular performance in the 1932 Los Angeles Summer Olympics. Horse and rider are likely depicted after the Piaffe, a dressage movement consisting of a collected trot, as is evident from the horse's restrained, graceful pose. The pair trained at Saumur in western France, home of the French Military Riding Academy and the elite corps of ecuyers or instructors of the Cadre Noir, to which Lesage belonged. Sculptor Roger de Minvielle, who was himself a keen equestrian and had previously been a member of the Light Cavalry regiment in Orleans, had also joined the Cadre Noir in 1930. The sculptor's familiarity with horses and the world of equestrian sport is evident in his sensitive treatment of the animal's physique This bronze was cast as part of a 1981 limited edition commissioned by Les Amis du Cadre Noir, in the lead up to the 50th anniversary of Taine and Lesage's Olympic victory λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 175
Demétre H. Chiparus, (Romanian, 1886 - 1947), patinated bronze model of a boy on the beach, the boy portrayed nude and crouching, resting on his elbows, on a textured bronze plinth signed D. H. Chiparus and dated MCMXI, on a moulded rectangular green, likely verde antico marble base with plaque inscribed A NOCINO 14 cm high, 26 cm wide CATALOGUE NOTES: Romanian sculptor Demétre Chiparus spent most of his career in Paris, and is considered one of the most important sculptors of the Art Deco period. Known mostly for his highly stylised chryselephantine models of dancing and reclining maidens, this realistically modelled boy sheds light on the sculptor's earlier work. Dated 1911, the present model likely predates Chiparus' move to Paris and may have been made during his sojourn in Italy, where he studied with sculptor Raffaello Romanelli between 1909 - 1912. The interest in realism as well as classical poses (the crouching figure can for example be related to the famous Roman 'Dying Gaul'), shows the influence of Italian sculpture on Chiparus' work. Within a few years, this realism would give way to the elegant, elongated lines of Art Deco
Lot 176
Demétre H. Chiparus, (Romanian, 1886 - 1947), a bronze bust group of three girls, early 20th century, all smiling, their heads turned to sinister, with shoulder length curled hair; signed Chiparus to the reverse in the maquette, on a rectangular green serpentine marble socle The bronze 25.5cm high, 45cm wide; the dimensions overall 29cm high, 48cm wide
Lot 177
λAlfredo Pina, (Italian 1883 - 1966), a patinated bronze bust of Ludwig van Beethoven, signed in the maquette at the truncation and with foundry stamp MONTAGUTELLI FRES PARIS CIRE PERDUE, atop a stepped marmo Portoro plinth 26cm high overall λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 180
Franz Iffland, (German, 1862 - 1935), a patinated bronze model of a hero with a slain eagle, probably Prometheus or Hercules, late 19th or early 20th century, the male figure portrayed triumphant, looking slightly to sinister, holding the dead bird aloft with both outstretched arms 54 cm high including circular grey marble socle CATALOGUE NOTES: Versions of this model by the German Art Nouveau sculptor Franz Iffland exist where the eagle is shown with an arrow head coming out of its neck. This could cement the subject as that of Prometheus, the Titan who in Greek mythology was punished by the God Zeus for stealing fire from the gods and giving it to humanity. Prometheus' torment was to have an enormous eagle pick at his liver every day. The bird was later shot with an arrow by Hercules
Lot 181
λKarin Jonzen, (1914 - 1998), a patinated bronze model of a resting youth, edition of eight; the young man portrayed nude and with closed eyes, reclining on a stepped plinth, his head resting on his folded arms, the left leg outstretched 25 cm high, 42 cm wide including black slate base CATALOGUE NOTES: Sculptor Karin Jonzen was born in London to Swedish parents, and was educated at prestigious art academies including the Slade School of Fine Art and the Swedish Royal Academy. While over the course of the twentieth century sculpture started to veer towards abstraction, Jonzen remained loyal to and continued to develop her figurative style and her preferred subject of the human body. Characterised by their tactile and, as often noted by the artist herself, their 'natural' appearance, Jonzen's works portray an incredible sensitivity to and understanding of the human form.Jonzen was awarded the Prix de Rome in 1939 (according to a plaque on another version of Resting Youth, the present model was her winning entry), and the Feodora Gleichen Award in 1948. Several of her public sculptures still grace the streets of London, including a substantial figural bronze monument outside the Guildhall (Beyond Tomorrow, 1972). Another cast of the present model was sold at Bonhams, Modern Pictures, 13 July 2010 Related literature: Karin Jonzen, Karin Jonzen, Sculptor, Cambridge: Silent Books, 1994 λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 183
After Auguste Rodin, (French 1840 - 1917), Eve (petit modèle), a patinated bronze nude, late cast, the loosely rectangular base inscribed front right A.Rodin in the maquette 75cm high LITERATURE: G. Grappe, Catalogue du Musée Rodin, Paris, 1927, p. 35, no. 39 (larger version illustrated) J. Cladel, Rodin: sa vie glorieuse et inconnue, Paris, 1936, pp. 142-143.I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 88 (plaster version illustrated, pl. 17) R. Descharnes and J.-F. Chabrun, Auguste Rodin, Paris, 1967, p. 98 (larger version illustrated, p. 99), et al
Lot 184
Charles Alexandre Malfray, (French 1887 - 1940), Baigneuse allongée, a sculpted terracotta model of a reclining maiden, portrayed as supporting her head behind with her raised right arm, inscribed MALFRAY beneath, mounted on a stepped rectangular black marble socle 22cm high, 52cm long overall PROVENANCE: Gifted by Malfray to a fellow artist and close friend, the grandfather of a recent vendor in 2018 CATALOGUE NOTES: For versions of this model in bronze, cf Guillaume le Floc'h, Paris, Vente de prestige: Tableaux, sculptures, verrerie, céramique, meubles et objets d‘art, 6th October 2013, lot 104; Also Thierry de Maigret, Paris, Tableaux modernes - art déco, 20th March 2013, lot 76 Malfray also produced very similar variants of this work which differed in certain details: Cf Artcurial, Paris, Art Moderne, 3rd November 2009, lot 353 -Born the son of an Orléans stonemason Malfray was a student of the École des Beaux-Arts d'Orléans. At seventeen, he attended the School of Decorative Arts in Paris and the École nationale supérieure des Beaux-Arts. He however rejected the academic teaching of the college and became attracted by the art of the Montmartre-based Auguste Rodin and Antoine Bourdelle Malfray survived the First World War after being gassed and taking part in the Battle of Verdun, but was deeply affected by his experiences. Together with his brother, he created war memorials to the dead of Pithiviers (1920) and Orleans (1924), whose modernism was highly debated. In 1920 he was awarded the Prix Blumenthal, but ruined by the work and ill as a result of the war, he almost gave up sculpture However, in 1931, his friend Aristide Maillol appointed him his successor as professor at the Académie Ranson in Paris. During the following years, Malfray had many students in his workshop, including Étienne Martin, François Stahly, Nessa Cohen, and Jean Le Moal
Lot 192
λStephen Cohn, (Anglo-German 1931 - 2012), Flying Head, a patinated bronze abstract form, mounted on a rectangular bronze pedestal 52cm high, 20cm wide PROVENANCE: Purchased from an exhibition of Cohn's work at the Anderson Gallery, Broadway, Worcestershire in July 1993 CATALOGUE NOTES: Stephen Cohn was born in Frankfurt-am-Main in 1931, coming to England in 1933 with his parents. On leaving school he served in the Royal Artillery and then studied sculpture, first at Hammersmith School of Art and later at the Royal College of Art He went on to teach, and also wrote and lectured in Fine Art. His working life was divided between sculpture, painting, printmaking, and writing λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 193
λSean Rice, (1931 - 1997), Untitled, a stylised bronze model of a reclining male nude 13cm high, 18cm long; including rectangular green marble base, 16cm high, 20cm long λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 195
λNorman Aspinall, 20th century, a concrete female torso of stylised form, atop a rectangular stained hardwood base; the underside inscribed in ink NORMAN ASPINALL TORSO WITH SHAWL, 1963, concrete for bronze 44cm high overall PROVENANCE: Previously in the collection of the late Professor Charles Reginald Dodwell, Pilkington Professor of History of Art and Director of Whitworth Gallery, Manchester University 1966-89; and thence by descent λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 197
Claudio Parigi, (Italian b.1954), Venere con Telefono Cellulare, patinated bronze, mounted on a rectangular stained wood base, inscribed and dated 2013 to the underside The bronze 19cm long, the overall dimensions 8.5cm high, 22cm long CATALOGUE NOTE: Italian sculptor Claudio Parigi lives and works in Florence, and is greatly influenced by the Renaissance heritage of his city. Parigi's sculptures are characterised by the juxtaposition of classically inspired nudes with modern themes and attributes. The present sculpture for example shows the female figure in a traditional Venusian pose, (Titian's Urbino Venus being an obvious example), but the mobile 'phone in the left hand jerks the viewer back into the 21st century Parigi's work is held by the collection of the Museo dei Bozzetti di Pietrasanta and several international private collections, and his sculptures as well as his art historical theories have been featured in Italian publications including the newspaper La Nazione
Lot 22
A pair of Venetian bronze candlesticks, second half 16th century, the sockets cast as three handled urns with swagged grotesques, above acanthus cast drip pans, on domed bases relief cast with further grotesque masks and festoons 12cm high, 14cm diameter COMPARATIVE LITERATURE: Cf. W. Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CXXIV for a similar candlestick held at London's Victoria & Albert Museum, and another at the Bargello in Florence Also Irene Martin (Ed.), The Thyssen-Bornemisza Collection, Renaissance and Later Sculpture, Sotheby's Publications, 1992, p176, fig.2, a pair cited from the Frick Collection, New York and identified as workshop of Gaspare Macri, Brescia, mid 16th century
Lot 224
A stone composition and bronze alloy mounted garden sundial, 20th century, with gnomon above a circular plate inscribed Let others tell of storms and showers, I'll only count your sunny hours; the gadrooned baluster shaft with circular base 76cm high Lot 224. Please note the catalogue image has been transposed with that of lot 226
Lot 27
After Barthélemy Prieur, (French, circa 1536-1611), a bronze model of Cupid, 17th / 18th century, portrayed standing, leaning forward and taking aim with his bow, his quiver to his right side; on a cylindrical quartz plinth with square section marmo nero Belgio socle The bronze 10.5cm high, the height overall 16.25cm Cf: Christie's London, Important European Furniture, Sculpture & Clocks, 9th July 2009, lot 51, a similar example
Lot 28
After Giambologna, (Flemish working in Italy, 1527 - 1608), a bronze model of Venus After the Bath, Italian, 17th century, a cloth held up in her left hand to her left shoulder, with further drapery held in her right hand over her left thigh, the left foot resting on an urn; on an integrally cast small rectangular base; atop a square section white marble base with black marble socle The bronze, 13.5cm high, the height overall 18cm CATALOGUE NOTES: See W.Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CCVIII for a similar example previously held at the Kaiser-Friedrich Museum, Berlin, (current location unknown) Various versions of this model, all with slight differences exist. In many the left hand with the cloth is raised to her breast rather than above the shoulder as it is here Cf Sotheby's London, Collections, 3rd May 2018, lot 92
Lot 29
An Italian bronze model of a maiden, probably Venetian, 17th century, portrayed standing and nude but for light drapery across her breasts and loins, her head turned to dexter, her weight on her right leg; atop a square section marmo rosso antico socle, above a convent Siena marble and white marble plinth The bronze 14cm high, the height overall 25cm
Lot 30
A north Italian bronze model of a dragon, probably Florentine or Venetian, later 17th century, the head twisting to dexter with jaws agape, the tail coiling down behind, on a later, square section white marble plinth, with dove grey marble socle 18cm high, 22cm wide CATALOGUE NOTES: Whilst seemingly unusual as subject matter, models of dragons were not uncommonly cast in 17th century Italy because of their occurrence in Classical mythology. For example Gianfrancesco Susini (1585 - circa 1653) created models in bronze of the famed dragon Ladon after a model by Pietro Tacca (1577 - 1640), Ladon having featured in the eleventh Labour of Hercules as guardian of the golden apples in the Garden of the Hesperides Cf. Sotheby's New York, Important Old Master Paintings and Sculpture, Property from the Abbott Guggenheim Collection, 27th January 2011, lot 427 Far more similar to the current example is a 17th century Italian fragmentary bronze dragon, offered at Sotheby's London, A Venetian Legacy - An Italian Private Collection, 5th December 2017, lot 540
Lot 31
A bronze model of a seated female nude, attributable to Barthélemy Prieur, (circa 1536 - 1611), portrayed wearing a headband and looking down to dexter, her right hand reaching down to the heel of her right foot, with drapery across her loins; on a square section marble base with marble soclle The bronze 13.75cm high; the height overall 17.75cm COMPARATIVE LITERATURE AND EXAMPLES: See W.Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CCXV for a similar example held at the Huntington Library, San Marino, California, (Object Number 17:17). Bode has the bronze as Italo-Netherlandish, but the Huntington now attributes it to Barthélemy Prieur Another example, firmly attributed to Prieur is held at New York's Metropolitan Museum of Art, (Accession Number: 25.142.5); whilst a third can be seen in the Staatliche Museen at Berlin, (Ident.Nr. 1970). Interestingly all of these examples are undraped
Lot 32
After Giambologna, (Flemish working in Italy, 1527 - 1608), a bronze model of a seated bagpiper, probably Florentine, early 17th century, portrayed in period attire and holding the pipe in both hands, his legs crossed; on a later, square section dove grey marble base The bronze 7.5cm high, the height overall, 10.5cm COMPARATIVE LITERATURE: An almost identical example is held at the Berlin-Dahlem Staatliche Museen, and is included in W. Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CCV
Lot 33
Manner of Giambologna, (Flemish working in Italy, 1527 - 1608), a pair of patinated bronze models of prancing horses, probably French, 18th century, portrayed opposing, on naturalistically cast rectangular bases, above rectangular polished maple socles The bronzes 17cm high, 19cm long, the overall dimensions 20cm high, 20cm long PROVENANCE: N.R.C. Warwick Esq, purchased 18th December 1929, from Alfred Spero & Kerin Limited, 9 Clifford Street, London W1 The bronzes are offered for sale with the original 1929 receipt
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