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Click here to subscribeAfter Pierre-Jules Mene (1878-1961), a patinated bronze model of a standing bull, portrayed with the head inclined to sinister and on a naturalistically modelled canted rectangular base cast with a raised branch, inscribed P. J. MENE to the maquette, on a simulated green serpentine marble socle, 16cm high, 26cm wide overall Provenance: British Private Collection
An impressive fossil marble and gilt bronze mounted Neoclassical pedestal urn, 20th century, the ovoid body with integral waisted cover and surmounted with a fir cone finial, on a stepped marble plinth, on further slate base, 52cm high, the base 14cm squareProvenance: By form repute purchased from Mallet (at Bourdon House), London W1 in 1998 Please note, the date of this lot is not as stated in the printed catalogue but likely later. The date should read 20th centuryCondition Report: This urn is ornamental, and as such the cover cannot be removed (it is all one piece).Minor marks and scuffs. One corner of the fossil marble base has a repair. Minor nibbling and possible minor bits of filling to the black square base underneath.A handful of very small surface losses and nibbling to edges of socle, domed cover and plinth.Overall in perfectly satisfactory condition.As per the saleroom notice, this lot is more recent in date than stated in the printed catalogue.Condition Report Disclaimer
After Ferdinando Tacca (Italian, 1619-1686), a pair of Italian patinated bronze models of musician putti, 19th century, seated and modelled opposing, each holding a scroll of sheet music, mounted to triform ebonised bases, 35cm and 42.5cm high overallThe present models with their distinctive shoulder-length locks and expressive faces are usually attributed to Tacca, as they bear a strong resemblance to the pair of shield-bearing putti by the sculptor in the collection of the Getty Museum, Los Angeles, which he made for the church of Santo Stefano al Ponte Vecchio in Florence in 1650. Casts of the present model, given an earlier date, were sold at Sotheby's New York, 26 January 2006, lot 451 ($11,400).Further literature: Fogelman, Fusco and Cambareri, Italian and Spanish Sculpture, Catalogue of the J. Paul Getty Museum Collection, Los Angeles, 2002, no. 27, pp. 217-223.Condition Report: Minor marks, knocks and scuffs overall consistent with age and use.The patina is a rich dark brown with lighter areas to the extremities.One of the putti has a break to the extended finger on the right hand, and a possible repair to one of the feet.The other has a restoration to the rear of the raised left arm. The surfaces have some minor casting inconsistencies and one or two small plugs overall, consistent with their manufacture.Minor nibbling and wear to paint on bases.Condition Report Disclaimer
Antoine-Louis Barye (1795-1875), 'Ratel Denichant des Oeufs' (honey badger stealing eggs from a nest), circa 1875, the animal portrayed on a naturalistically modelled tree trunk, inscribed BARYE to the maquette, approximately 10cm high, 15cm wideProvenance: British Private CollectionParis-born Barye studied under Biennais and Bosio, and was admitted to the Ecole des Beaux Arts in 1818. Barye would spend time studying and sketching the animals at the Jardin des Plantes, where he first discovered his enduring interest in portraying animals. Barye's attention not only to animals' anatomical details but also their behaviours and temperaments was unprecedented, and his vividly modelled groups are often considered the foundation of the prolific animalier movement. Nineteenth-century Art Critic Théophile Gautier once even referred to Barye as 'Michelangelo of the Menagerie'.While this small and sweetly rendered model depicting a 'ratel' or honey badger raiding a nest of eggs is considered a later work by Barye (appearing only in the later catalogues), it shows the sculptor's unrivalled ability to capture animals' individual characters.Two casts of this model were previously offered at Christie's New York, BARYE BRONZES: AN IMPORTANT PRIVATE COLLECTION, 25 April 2003, lot 37 ($2,868) and 38 ($2,151). Please note, the dates for Antoine-Louis Barye are (1795-1875) and not as printed in the catalogue. Condition Report: The bronze has a shiny greenish brown patina, interspersed with areas of lighter brown.There are one or two scratches to the back, and the bronze would benefit from a dusting.Otherwise, it appears to be in perfectly presentable condition.Condition Report Disclaimer
After Jacques-Louis Gautier (French, 1831 - ?), a patinated bronze model of Mephistopheles, late 19th century, portrayed with exaggerated features, cloaked and holding a sword, 87cm highCondition Report: The bronze has a variegated brown and lighter brown patination (slightly differentiating between costume and features), and is very glossy in surface.Minor marks, knocks and scuffs overall.The strap holding the sword in place has a break on one side. The sword is detachable. Condition Report Disclaimer
After Emmanuel Fremiet (French, 1824-1910), a patinated bronze and marble mounted model of a Roman warrior on horseback, late 19th century, mounted to a large oval serpentine marble base, inscribed E. FREMIET to the horse's foot, approximately 57cm high overallFor a biographical footnote about the sculptor Fremiet, please see lot 867
An Italian patinated bronze bust of a young Emperor, possibly Tiberius as a youth, 17th century, of small proportions, the truncated subject portrayed with the head slightly inclined to sinister, with a diagonal sash across the chest, mounted to a later bronze waisted circular socle and square section base, the plinth indistinctly inscribed Young Galba to rear, the bust approximately 8.5cm high, overall height circa 11cmProvenance: from the estate of the late Betty, Lady GrantchesterCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a shiny reddish brown, the surface not entirely smooth, commensurate with age of this bronze.There are a handful of small casting inconsistencies including a tiny aperture to the hair. The rear is irregular and hollow-cast (to the head), and is of irregular shape.There is a small loss to the right side of the chest, as can be seen in the photographs.There is some lighter residue surrounding the buckle on the sash, which may just be a bit of dirt.There is a slightly raised patch of lighter metal near the socle, either an inconsistency or possibly to secure the lot to the later square socle.Some slight rubbing to the little plinth.Condition Report Disclaimer
A large French patinated and gilt bronze nine light figural candelabrum, Susse Freres Foundry, in Louis XV taste, late 19th century, modelled with a standing putto holding a cornucopia issuing acanthus scrolled branches, the shaped plinth stamped SUSSE FRES, approximately 112cm high excluding later electrical fitments
A pair of French patinated bronze models of putti emblematic of Astronomy, probably 18th century, in the style of François Duquesnoy, each portrayed standing and with a flowing drape, holding a telescope and compass respectively, standing atop a stepped square section plinth, 39cm high, the plinths 12cm square Condition Report: Some minor surface wear and lighter, rubbed areas to the patination, resulting in a matte mid-brown finish interspersed with darker areas. The telescope and drapes bearing traces of gilding. Small crack to the drape of the putto with the compass.Condition Report Disclaimer
A Venetian patinated bronze inkwell and cover, circle of Niccolo Roccatagliata (1593-1636), early 17th century, the domed and acanthus cast cover modelled with a standing deity, possibly Neptune, standing beside a dolphin, above a lobed basin raised on figural feet cast as men seated on cushions, circa 14cm high overallProvenance: from the Estate of the late Betty, Lady GrantchesterA related inkwell, with similarly lobed basin and feet modelled as seated males, is illustrated in W. Bode, The Italian Bronze Statuettes of the Renaissance, de Reinis, New York, 1980, p. 25, illustration 31. There described as 'Style of A. Vittoria', and as being in private possession.The deity standing contrapposto with hand leaning on an elongated dolphin recalls the model of 'Venus Marina' by Venetian sculptor Girolamo Campagna (see for example Metropolitan Museum Accession number 68.141.19). A large inkwell with figural feet and a version of this female deity and dolphin, was sold at Christie's London, 5 July 2007, lot 25 (£8,400).Condition Report: The patina is a rich reddish brown. Minor marks, knocks and scratches overall consistent with age. The feet have hollow cast rear.There is a crack near the rim of the basin, mostly visible to the interior.Small circular opening to one of the seated males' chest, due to casting, and there is loss of definition to the standing deity. There is also radial movement between the deity and the cover, the cover interior is a little irregular in shape. Tiny loss to a corner of one of the cushions.Condition Report Disclaimer
11-INCH TERRESTRIAL TABLE GLOBE, MERZBACH & FALK, BRUSSELS 20TH CENTURY with a bronze armature, and raised on an ebonised baluster column and circular moulded foot, with maker's cartouche 'GEOGRAPHICAL INSTITUTE OF BRUSSELS/ NEW PHYSICAL AND POLITICAL GLOBE PUBLISHED BY MERZBACH & FALK BRUSSELS..1881/ PATENT'(58cm wide, 30cm high)
A fine pair of Victorian ormulu and bronze figural oil lamps, each circular facet cut bowl surmounted on a slender reeded pillar supported by a well detailed figure of an early warrior king leaning on a broad sword and with axe slung at his waist, the octagonal base with cast oak leaf and acorns, 73cm high and each with later black painted octagonal stand 43.5cm high
A London Annual International Exhibition of all Fine Art Industries and Inventions bronze medallion 1874, by G. Morgan, one side with a profile bust of Prince Albert, together with a French bronze medallion with bust of Napoleon Bonaparte, dated 1840 by Rogat, a Victorian diamond jubilee coin, a medallion dated 1757 Frederick of Prussia, Defender of the Protestants, and a medallion commemorating the marriage of the Prince Wales and Princess Alexandria on March 10th 1863 (5)
A mid to late 19th Century French ormolu and porcelain mantel/table clock with a matching pair of ewers, all with bases and glass domes. The gilt bronze clock case and ewers made and signed by P.H. (Philippe) Mourey (1840-1910). Sevres porcelain panels to dial, surmounting urn, ewers and sides. 8 day countwheel movement striking on a bell, crack to one ewer face. With framed and glazed presentation to "Mr J. Franklin, by the members of the LSPA, with an accompanying clock as a mark of esteem and in recognition of his services as Vice President and President from June 1869 to Xmas 1878, July 18th 1879". Clock dome and base 67cm high, ewer domes and bases 52cm high
A 19th/20th Century cast bronze figure of Shakyamuni Buddha, modelled seated with eyes downcast in meditative expression, seated in dhyanasana with the right hand reaching down towards the ground in bhumisparsa mudra, the left hand held gently in the lap in dhyanamudra, on a double lotus petal throne, height 25cm.
A Chinese late Qing Dynasty (1644-1912) cast polished bronze floor standing incense burner, the tripod supports with taotie mask finials, extending to a lobed globular body with knopped central stem and lotus leaf sectional adornment, raised on a carved ruyi form hardwood stand, height 83cm.
An Elizabeth II 2018 Four Generations of Royalty five ounce silver proof coin cased, three albums of coin inset nickel first day covers, a Westminster 2017 Sapphire Jubilee five pound folder presentation set, seven Beatrix Potter fifty pence coin inset First Day Covers also various other nickel and coin inset covers and a cased collection of bronze coins of The Roman Empire with certificates. (qty)
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