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Lot 1
Architectural: A rare bronze door knocker in the form of a Cockatrice by Anton Dominik Fernkorn circa 1860 34cm high Anton Dominik Fernkorn (1813-1878) was born in Erfurt near Leipzig and studied sculpture under Johann Baptist Stiglmaier and Ludwig Michael Schwanthaler in Munich, from 1836 to 1840. His first sculptural project, “Saint George and the Dragon” for the courtyard of the Montenuovo palace, attracted attention, and the Austrian government appointed him director of the imperial bronze foundry at Vienna, in 1840, where he was part of the movement against the Neo-Classicism. He rediscovered Baroque sculpture and used it as the basis for his equestrian statue of Archduke Charles (1859), who had defeated Napoleon at the Battle of Aspern in 1809. This unusual bronze door knocker, baroque in style, is virtually identical in modelling to a large scale cockatrice made for the medieval Trsat castle in modern day Croatia. (see picture) This cockatrice, the so-called Dragon of Trsat, was a mythical creature cast in bronze that grew to become one of the best known symbols of the city. There are two, both commissioned by Austrian Field-Marshal and Count Laval Nugent who purchased the castle in the 19th century. A big history buff, Nugent, originally of Irish descent, was particularly keen on the legacy of the Frankopan, one of the leading noble families in Croatia from the 12th to the 17th century. As Trsat Castle used to belong to the Frankopan dynasty, Nugent was happy to acquire the edifice along with another similar estate, the Frankopan castle in Bosiljevo. The cockatrices, by Anton Dominik Fernkorn were installed in front of the central object on the castle grounds, guarding the gate to what is now Nugent’s mausoleum. For the Cathedral of Speyer, in 1858 he completed six of the eight free-stone statues of the German emperors buried there. He also made a statue of Prince Eugene of Savoy, but by unveiling in 1865 he was mentally ill and no longer able to work. He is well remembered for his portraits, and these include a bust of the Emperor Franz Joseph I of Austria and the funerary bust of Carl Ludwig Freiherr von Bruck in 1862. He was also a noted animalier, producing works such as the Lion of Aspern in Vienna. He died at the age of 65 in the hospital for mental patients in Saint Radengundu near Graz. Literature: Anton Dominik Fernkorn, Monument to Josipu Jelacicu, ISBN-86-7460-001-11 (a copy which is included with this lot) Published Zagreb, 1990.
Lot 12
Garden Statues: After Pietro Cipriano: A bronze dancing Faun Italian, last quarter 19th century on marble base the bronze 142cm high; 164cm overall Provenance: The Countess of Midleton, Eastwell Park Estate; Thence by descent Cipriani’s Faun modelled in 1722-24 is based on a Hellenistic statue that has been on display in the Uffizi Gallery in Florence since the second half of the 1600s. Such copies of Greco-Roman statuary were popular among contemporary wealthy art collectors who wanted their own versions of ancient art seen during their travels in Europe and Greece, on what was known as the “grand tour.” Many art historians consider Cipriani as the most gifted bronze sculptor of his generation in Florence. In 1709 Cipriani assisted his teacher, Massimiliano Soldani Benzi (1656-1740) in casting four figures for the Duke of Marlborough’s collection at Blenheim Palace in Oxfordshire. Like this faun, these works were inspired by ancient sculptures that had been on display in the Uffizi collection in Rome since the second half of the 1600s. This dancing faun is now more precisely identified as a satyr. Satyrs are roguish figures from ancient mythology and literature known for their love of wine, music, and mischief. This satyr holds metal cymbala in his hands and wears a kroupezion attached to his sandal. The latter is a device with a metal plate that would have made a noise rather like a modern tap shoe. His faunlike features are visible in the tiny horns above his forehead, and in the small goat’s tail at his rear. His head is bent over, absorbed in the music, and every muscle of his athletic body, from his deltoid muscles, his abdomen, to his calves, appears tense as he plays.
Lot 13
Garden Statues: After the Antique: A bronze figure of the Medici Apollo last quarter 19th century on fragmentary marble base 152cm high Provenance: The Countess of Midleton, Eastwell Park Estate; Thence by descent The Medici Apollo or Apollino is a Roman copy of a Hellenistic sculpture of the adolescent god Apollo of the Apollo Lykeios type. It is now in the Uffizi, Florence. Found complete in Rome in the 17th century, though its exact early provenance is obscure, it was originally in the Borghese collection, until it was moved to the Medici collection at Villa Medici, where it was recorded in 1704. Unlike many ancient sculptures in the Medici collection, it was not moved to Florence by Cosimo III de’ Medici, remaining in Rome until it was removed to accompany the Medici Niobe Group in 1769-70. In 1840 at the Uffizi it was broken by a painting falling on it and was restored by Lorenzo Bartolini, who covered the whole statue with a layer of paint to disguise the repairs. Much admired, it was extensively copied from the 17th century onwards and like the Dancing faun such copies of Greco-Roman statuary were popular among contemporary wealthy art collectors who wanted their own versions of ancient art seen during their travels in Europe and Greece, on what was known as the “grand tour.”
Lot 40
Sculpture: ▲ Ronald Cameron Whistlejacket Bronze 4 of an edition of 9 64cm high by 75cm long Ronald Cameron (1930-2013) was a prolific sculptor whose work encompassed everything from making the puppets for Gerry Anderson’s Thunderbirds, Captain Scarlet and Joe 90, to larger scale works in bronze. He exhibited at the Alwin Gallery in Mayfair alongside works by Elizabeth Frink and Henry Moore. Whistlejacket was a famous racehorse, owned by the Marquess of Rockingham, immortalised in an oil painting of 1762, by the celebrated sporting artist, George Stubbs.
Lot 153
*Val Barry (1937-2018) a 'sentry' vase: each of narrow profile with notched margin under banded bronze glaze, impressed personal seals, 44 cm high.*Notes - the 'sentry' form was also later used by Val Barry in her civic bronze sculpture on a much larger scale and was exhibited at the Barbican Feeling Through Form Exhibition in 1986 and later that year in Canon Hall Country Park, Yorkshire
Lot 154
*Val Barry (1937-2018) two 'sentry' vases: each of narrow profile with notched margin and diagonal rims under banded bronze glaze, impressed personal seals, 38 and 39 cm high.*Notes - undoubtedly influenced both by her 'sentry' and 'sword' vessels, this form was later used by Val Barry in her civic bronze sculpture on a much larger scale where it was referred to as an 'Abstract Figure in Reverse Motion' and was exhibited at the Barbican Feeling Through Form Exhibition in 1986 and later that year in Canon Hall Country Park, Yorkshire
Lot 155
*Val Barry (1937-2018) four stoneware vessels: each of narrow profile with notched margins comprising a large 'abstract figure in reverse motion' under a matt buff finish, a 'sentry' vase under a banded bronze glaze and two small 'double sentry' vases under matt white with black speckles, impressed personal seals, 45 - 24 cm high.
Lot 122
Alexander Davison's Victory of the Nile 1798 bronze medal by Conrad Heinrich Küchler, with "Rear Admiral Lord Nelson of the Nile" above Peace holding an olive branch and portrait of Nelson, reverse shows the fleet at Aboukir Bay, edge engraved "A Tribute of Regard From Alex R Davison, St James Square", one of 6000 issued to the ranks other than Petty Officers.
Lot 1151
An 19th Century bronze cased mantel timepiece, the 3ins diameter painted metal dial repainted with maker's name Wm. Marshall of London, No. 6249, the watch style movement with engraved cock and steel balance wheel, contained in bronze cylindrical casing with gilt bronze leaf pattern border and domed glass, the rectangular base with floral and leaf scroll ornament, chiselled leaf mouldings and on block feet, 7.25ins high Note: Possibly William Marshall recorded working London as a watchmaker 1817-1825
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