After François-Joseph Bosio, (Monagesque 1768 ~ 1845), a bronze model of King Henri IV of France as a Child, portrayed standing and attired in Renaissance dress, a sheathed sword in his left hand; the rectangular base inscribed in the maquette for the foundry, F.BARBEDIENNE FONDEUR 50cm high CATALOGUE NOTES: Bosio was a neoclassical master who sculpted in the great tradition of Canova; this statue, an exception in his work, is an early and successful example of the Troubadour style, which influenced painting from the very start of the 19th century, but had a slightly later impact on sculpture. The precision of costume and accessories is characteristic of the Troubadour style, which views history from an anecdotal, intimate perspective, aiming to move the spectator (unlike neoclassical art, which seeks to edify). The portrayal of kings as children provides a touching contrast between the innocence of their state and the gravity of their destiny. Bosio was probably inspired by a 16th-century portrait of Henry IV at the age of four (Château de Versailles) by François Bunel (1522 ~ 1599), court painter to the kings of Navarre
We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
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
Manner of Jacques~Louis Gautier, (French b.1831), two patinated and parcel gilt bronze figures, third quarter 19th century, possibly intended as encriers or desk stands, one cast as Mephistopheles standing with his arms crossed, a set of bellows held in his left hand, a three legged cauldron with removable lid beside him on the circular base; the other as a blindfolded man, possibly Faustus or MacBeth, his hands raised to feel his way, a broomstick and a pail beneath him on the circular base 17 and 17.5cm high respectively CATALOGUE NOTES: These unusual bronzes are highly reminiscent of work by Gautier, whose bronze representations of Mephistopheles have the same slender and elongated limbs as the example here. Gautier created pairs of Mephistopheles and MacBeth, the blindness of the latter's descent into evil being compared with that of Dr Faustus and indeed the similarities are recognised in literary criticism. Gautier's better known casts of MacBeth have him holding a broomstick -an attribute suggesting the role of the witches in his conversion, but unlike the blindfolded man here, Gautier's MacBeth has the same stylised and elongated limbs as Mephistopheles. The depiction of the blindfolded man here, in mundane attire and clogs is also puzzling, and indeed suggests that he might represent Faustus rather than MacBeth -In the second, lesser known part of the story of Dr Faustus he is blinded, which of course explains the blindfold. And as for the clogs, when Faustus is blinded he is living on reclaimed land, acquired with the help of Mephistopheles, who pushed back the sea with dams and dykes, and perhaps the clogs are indicative of this
An Italian patinated bronze model of the Roman she-wolf, possibly workshop of Francesco Righetti, late 18th century, cast after the Antique, her head turned to sinister with jaws agape; later mounted onto a rectangular white marble plinth with socle The bronze 12cm high, 21cm long; including the base, 21cm high, 23cm long CATALOGUE NOTES: The Etruscan original of the She-Wolf with Romulus and Remus beneath, dating to circa 490 BC is held at the Capitoline Museum, Rome. The infant founders of Rome would have been cast to the base which in the bronze offered here has been later replaced Righetti catered mainly for wealthy foreigners engaged on their Grand Tours. He had a large workshop and produced faithful replicas in various sizes, of well known statues based on classical models. In later life Righetti worked closely with the celebrated neo~classical sculptor Antonio Canova in casting large scale bronzes
A pair of Italian patinated bronze and marmo Siena mounted models of Campana urns, late 19th century, each with beaded upper edge to an egg-and-dart cast everted rim, the bodies relief cast with scenes of cavorting amorini amongst grapevines, each with twin reeded handles rising from Bacchic masks on the lobed undersides, on fluted circular feet with imbricated laurel cast edging; the square section pedestals each mounted with twin foliate wreaths and twin Bacchic trophies, the socles with acanthus cast collars 45cm high overall, 19cm diameter
Claudio Parigi, (Italian 1954 ~ ), Autostop con il Trolley, patinated bronze portraying a standing nude maiden, the right hand lifted and thumb outstretched to thumb a lift, a trolley case by her right leg, signed to the rear and underneath the square section wood base 22.5 cm high, 9.5 cm wide overall 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 contrapposto pose, however the trolley and hitch hiking gesture place her firmly in the present 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
Frédérick Eugène Piat, (French 1827 ~ 1903) a pair of patinated bronze models of Seated Nubians, third quarter 19th century, a male and female, naturalistically modelled and portrayed opposing, resting on tree stumps, both nude but for feather adornments; the circular foliate cast bases each inscribed PIAT in the maquette; both atop secondary waisted circular bases 75cm high CATALOGUE NOTES: For comparable examples of these bronzes, see: Sotheby's New York, 19th Century Furniture, Sculpture, Ceramics, Silver & Works of Art, 15th April 2011, lot 343 Also Sotheby's London, 19th & 20th century Sculpture, 12th May 1995, lot 73
Auguste Louis Mathurin Moreau, (French 1834 ~ 1917), a pair of patinated bronze models of Neptune and Amphitrite, third quarter 19th century, both portrayed standing and nude but for drapery across their thighs and billowing out behind them; the former crowned, holding a trident in his left hand and with a hippocampus at his feet; the latter holding a water jar and with a dolphin at her feet; both inscribed in the maquette ATE. MOREAU, above circular marmo Siena socles 46.5 and 44.5cm high respectively For similar examaples, see Christie's South Kensington, Interiors Including Three Private Collections, 29th July 2014, lot 209 Also Bonhams Knightsbridge, Home & Interiors, 7th March 2018, lot 356 Also Nagel Auktionen, Stuttgart, 9th December 2005, lot 948
A pair of Continental gilt and patinated bronze and marble mounted models of recumbent sphinges, late 19th / early 20th century, each with pharaonic mask and inscribed with cartouches of faux hieroglyphs; on rectangular striated rouge marble plinths, atop black marble socles with foliate cast collars 20cm high, 28cm long
A group of assorted Continental patinated metal figural sculpture, late 19th century, comprising a pair of spelter models of amorini, 16cm high; a pair of associated bronze tripod atheniennes, 10.5cm high; a pair of spelter models of a maiden playing badminton and a young man with books, 13cm high; and a spelter and marmo nero Belgio mounted model of a twin volute handled urn, 25cm high overall
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 rectangular base; atop a square section marble socle The bronze, 13cm high, the height overall 14.5cm CATALOGUE NOTES: 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
A pair of patinated bronze tripod atheniennes in the manner of ancient Pompeian examples, circa 1900, made for use as planters, each with a copper basin set into the circlet, applied with cast swagged bucrania mounts, supported above the wingtips of three seated sphinges, each atop a monopodial support with paw foot, conjoined by scrolling foliate cast supports, above a triform base; each athenienne with a later circular glass top 91cm high, 60cm wide CATALOGUE NOTES: Usage of bronze tripods extends back to the Bronze Age, when very simple examples were necessary as cooking pot stands over temporary cooking fires. Homer often mentions them in his Iliad and Odyssey epics, when they are used for preparing animal sacrifices to the gods, prior to the feast for the men. As items cast in bronze they were valuable 'high status' objects, and so are also mentioned as prizes in celebratory athletics games Far more decorative tripod atheniennes were produced during the Roman period and examples have been unearthed at Pompei. It is possible that the current pair were cast by the Neapolitan foundry Chiurazzi & Fils, which cast domestic objects excavated in the ruins as well as fine sculpture, to sell as souvenirs to wealthy northern Europeans engaged on their Grand Tours
An Italian bronze and Siena marble mounted Grand Tour model of the Temple of Vesta, third quarter 19th century, probably originally a brûle parfum, cast with tiled roof and Corinthian columns around the circular cella, with stepped socle atop the marble base 12.5cm high, 12.5cm diameter CATALOGUE NOTE: The Temple of Vesta is the popular name given to the round temple near the River Tiber in Rome (in what is now the Piazza Bocca della Veritá). The association with Vesta results from the shape of the building but in fact it is not known to which god the temple was dedicated. It may have been dedicated to Hercules Olivarius, patron of the Portus Tiberinus oil merchants, since three or four temples to the Greek hero are known to have stood in the area of the Forum Boarium where there was also a Great Altar to Hercules, and since chthonic deities such as Hercules were often worshipped in circular temples More confusingly, the term 'temple of Vesta' is now more popularly used as the name of the ruined circular temple to the same goddess at the Tivoli Gardens, whilst the temple after which the bronze here is modelled is referred to as the Temple of Hestia (the Greek form of Roman Vesta)
Antoine Bofill, (Spanish, 1875 ~ after 1925), a bronze group of a horse and man, called At the End of the Day, the horse shown drinking from a trough, the rider to its right hand side, portrayed drinking from a flask held above his head with outstretched arms 46 cm high, 46 cm wide, 24 cm deep including associated rose marble base CATALOGUE NOTES: Antoine Bofill was born in Barcelona and trained at the Academy of Fine Arts in his native city, but he was active in the Parisian art world for most of his career. Bofill is primarily known as an Animalier, the group of 19th century sculptors specialising in animal groups. Bofill experimented with different materials in his usually small scale objects, including ivory and silver. This more substantial bronze unites Bofill's prowess as an animalier with his lesser known but significant interest in figural sculpture. Catching the figures off guard, showing the man in unassuming country attire and the horse with its mouth in the rippling water, the group also demonstrates the sculptor's eye for naturalism
An 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 82cm high overall CATALOGUE NOTES: 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
λUrsula Hanke-Förster, (German 1924 ~ 2013), Abstract Figures, patinated bronze, circa 1965, two examples; in each case the conjoined figures cast as a curved, standing form The larger example 30.5cm high, 54cm wide; the smaller 17cm high, 51cm wide CATALOGUE NOTES: A similar bronze was offered at Auktionshaus Dannenberg, Berlin, Kunst & Antiquitätenauktion, 13th June 2014, lot 675 Hanke-Förster studied at the Schule fur Kunst und Handwerk in Berlin and the Hochschule fur Bildende Kunst in Berlin. Awarded the State Art Prize in 1954, she produced a number of major public sculptures in Berlin and Hanover, including Begegnungen at the Berliner Brücke, Jungen mit Drachen at Gemeindepark in Berlin, and Mann mit Netzen at Falkenseer Platz in Berlin amongst many others. Hanke-Forster also regularly exhibited her smaller sculptures, exhibiting at the Galerie Europa in Berlin and the Weyhe Galleries in New York and Zurich in the late 1950s and early 1960s Please note: λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Francisque-Joseph Duret, (French 1804 ~ 1865) and Auguste-Maximilien Delafontaine, (French 1813 ~ 1892), a patinated bronze model of a dancing youth, third quarter 19th century, portrayed nude but for loose trunks, the circular naturalistically cast base inscribed for the sculptor and founder 95cm high
Georg Rheineck, (German, 1848 ~ 1916), a patinated bronze model of a boy startled by a frog, 1901, the nude youth portrayed standing, looking to sinister, leaning sideways on the slightly bent right leg, a small frog perched on the integral textured ovoid base inscribed G.g. Rheineck 1901 42 cm high, 26 cm wide
An Italian Grand Tour marmo giallo model of the Column of Marcus Aurelius, last quarter 19th century, with gilt bronze figure of an emperor on a cylindrical plinth atop the square section capital, the tapered shaft with spiral bands of figural scenes, the square section pedestal inscribed to one side, with stepped socle and marmo nero Belgio base 42cm high CATALOGUE NOTES: The Column of Marcus Aurelius is a Roman victory column in the Piazza Colonna, the spiral relief (modelled on a similar scheme on the earlier Column of Trajan) portraying Marcus Aurelius' Danubian or Marcomannic campaigns, waged by him from 166 to his death in 180 The column was entirely restored by Domenico Fontana in 1596 on the order of Pope Sixtus V, at which point a bronze statue of St Paul was added to the top. The original figure of Marcus Aurelius had been long lost by this point, so the bronze model atop the souvenir column offered here is a purely conjectural and generic portrayal of a Roman emperor, (having more in common with a model of Domitian held at the Vatican, -Inv. No. 2213). The original dedicatory inscription is also long lost, so the inscription in the Grand Tour model here is also conjectural (explaining the inaccuracies in the Latin)
After Giambologna, ‘(Flemish working in Italy, 1527 ~ 1608), a bronze model of a pacing bull, 17th century, the bull portrayed with the left foreleg raised, the head inclined slightly to sinister and the tail curled upwards, on an associated moulded wood plinth 14.5cm high, 7.5cm long overall CATALOGUE NOTES: Born and trained in Belgium, the sculptor Jean Boulogne, later Italianised to 'Giovanni Bologna' or 'Giambologna', travelled to Italy around 1550 in order to study the works of Antiquity and Renaissance. He was never to return from his trip. Convinced by the powerful Medici family to remain in Florence, he worked there as the family's court sculptor from the 1560's until the end of his career. Known for creating towering, impossible multi figure compositions of biblical and mythological subjects in marble and bronze, the contortionist bodies of Giambologna exemplify the ingenuity of mannerist sculpture. The sculptor created the model of the 'pacing bull' for Grand Duke Cosimo de Medici in 1573. From the twisted, muscular neck to the raised leg and tail, lifted up in alertness, this bull shows the great energy that characterises Giambologna's work. It also shows the clear influence of the dynamic Roman 'Farnese Bull' sculptural group, excavated in 1546. The present model is an early reproduction, dating from the 17th century, when Giambologna's oeuvre had already become of great importance to the next generation of sculptors, working in the dynamic style of the Baroque period Versions of this model are held by the Victoria and Albert Museum, London (A.75-1949), and the Royal Collection (RCIN 35469) A similar 17th century cast of the model was sold at Christie's Paris, Collection Yves Saint Laurent et Pierre Bergé, 23 ~ 25 February 2009, lot 589
Loading...-
350105 item(s)/page