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Lot 665
EDITH BARRETTO STEVENS PARSONS (AMERICAN, 1878-1956), SCOTTISH TERRIERS the terriers depicted in playful mood, one ready to play, the other chasing its tail, both with cast signature and Gorham Foundry mark, bronze with brown patina. (2) Height of tallest 13.5cm, 18cm longIn very good condition. Nice brown patina.
Lot 741
A FIRE-GILT BRONZE TABLE CLOCK, CIRCA 1875 the case elaborately cast in the Rococo tendency with scrolls and acanthus leaves, the circular dial with Roman numeral hours and Arabic outer minutes, with a two-train movement and outside countwheel striking the hours and half hours on a bell. 49cm highIn good condition.
Lot 745
A 19TH CENTURY FRENCH BRONZE AND MARBLE GARNITURE DE CHEMINÉE the clock case in the form of a section of fluted column, surmounted by the figure of cupid, Moudin two-train movement outside countwheel striking the hours and half hours on a bell, the pair of figural candelabra with two branches; each with a marble base. (3) Clock 36cm highA couple of scratches to the dial. With pendulum and back cover. It appears to be working and striking correctly but not monitored for a given length of time and, therefore, unwarranted. The marble is in good condition.
Lot 101
A GEM-SET AND DIAMOND 'CAMPANELLE' SAUTOIR NECKLACE, BY CHANTECLERThe fancy-link chain suspending various detachable bell-shaped 'campanelle' charms set with brilliant-cut diamonds, blue sapphires, yellow sapphires, emeralds, rock crystal... mounted in 18K gold, signed Chantecler, chain length 81cmFascinated by the beauty of the Neapolitian island, jeweller Pietro Capuano set up his company Chantecler in Capri in 1929.A descendant of a family of jewellers, Capuano was well versed in the business and led him to establish a very successful company. The name has quite a personal relation to the man himself, Chantecler being his nickname given to him by his friends. It reflected his love of fun and socialising often staying up partying until the early morning hours.Nearly two decades on from beginning to trade in Capri, Chantecler opened his first shop on the Via Camerelle. As the first jewellery shop on the island it was a highly respected institution even after the arrival of many more companies in the following years.Living amongst the beautiful landscape of Capri, Chantecler derived most of its inspiration from the natural world. Marine subjects were very popular amongst their designs and became instant classics. He fully immersed himself in the glamorous lifestyle of Capri, befriending the rich and famous personalities and hosting lavish parties at his villa.Chantecler had only one main collaborator during his career, Salvatore Aprea, who began working with the company in 1947 and who continued the business following Capuano’s death in 1981. Today the brand is run by his family, headed by his children Maria Elena, Constanze and Gabriele. They have continued on their father’s legacy, caring for the heritage of the brand while also maintaining it’s relevance in the current market. They have expanded to a number of locations including Milan, Tokyo and most recently Hong Kong.Inspired by the legendary stories of Capri, Campanella is a timeless jewel.The inspiration came from the Capri legend of San Michele, in which a young shepherd finds his lost sheep thanks to the tinkling of a bell given to him by the Saint. Since then, the bell has become a talisman recognized as a symbol of peace and good fortune.Its history began in 1947 when President Roosevelt received the first bell as a peace gesture from Pietro Capuano who had the idea of making a bronze bell to give to him.The modern Campanella is constantly changing while adhering to its founding principles. It is a poignant, graceful, and vibrant porte-bonheur. Campanella epitomizes the unique elegance of Capri. Condition Report: Normal signs of wear, overall in good conditionEach charm vary in retail prices on Chantecler website, between €3,100 to €7,000https://www.chantecler.it/en/jewelry/collections/campanelle.aspx?idx=6&types=149&sort=collectionTotal gross weight approx. 123.4g
Lot 55
A PAIR OF GEM-SET NOVELTY BROOCHES, BY FASANO, CIRCA 1960Composed of two whimsical lions, each openwork gold body with circular-cut emeralds for eyes, brilliant and single-cut diamond muzzle and applied black enamel nose, to polished wirework mane and whiskers, mounted in 18K gold, both signed Fasano, lengths 4.4cm & 3.6cmBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery. Condition Report: Diamonds: bright and lively - estimated clarity VSEmeralds: of bluish-green hue, overall well matched in colourBoth signed FASANO and 750 for 18K goldTotal gross weights: 18.7g & 13.6g
Lot 718
Pair of silver fox mask menu holders, Adie Brothers, Birmingham 1934, height 3cm, 2.5ozt in total, a cold painted bronze grouse menu holder, 3.5cm, and a silver match box frame, C & Co., Birmingham 1934, 4.5cm, 1.1ozt.Qty: 4Condition report:One of the menu holders has had the back support ring bent significantly backwards so the menu wouldn't sit very upright in it. Otherwise the holders and matchbox frame are in good condition. The small cold-painted bronze pheasant is a little loose on the base, and the onyx disc has a crack through it, but it appears stable.
Lot 756
Art Nouveau bronze and glass chamberstick, glass column and bowl, with figural bronze mount of a female nude, height 12cm.Condition report:There is a very slight nick to the external rim of the bowl/ tray. Otherwise the glass has remained in very good condition and is blown in one shaped piece. The patina to the figure and metal mounts is even and free of any significant scratching. The shape remains good although the mount is a little loose.
Lot 156
LOUIS COMFORT TIFFANY (AMERICAN 1948-1933)'Turtle-Back' desk lamp, circa 1905Patinated bronze and marbled glass, having a screen-like shade, each panel centred with a 'turtle-back', mounted on a bronze base with scroll and ribbed pattern.36.2 cm highShade marked Tiffany Studios, base stamped Tiffany Studios, New York, 71452.For further information on this lot please visit Bonhams.com
Lot 155
TIFFANY STUDIOS (1899-1930)'Abalone' pattern magnifying glass, 1178, circa 1905Gilt bronze handle and frame for the glass, the handle with linear decoration and scrolls set on each side with three small plaques of abalone shell.22.3 cm longStamped on the end Tiffany Studios, New York, 1178.For further information on this lot please visit Bonhams.com
Lot 178
ATTRIBUTED TO PAUL PHILLIPELady in a flared dress, circa 1930Art Deco, cold-painted bronze and ivory figure, cast and carved from a model and depicting a young woman wearing a flared dress decorated with flowers, with flowers in her hair and on her chest and wearing a red locket, with a checkerboard floor on an onyx and slate base.45 cm high, 13.7 cm wide (with base)Unsigned.Ivory exemption certificate number: VVYFJFUZThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 177
FERDINAND PREISS (GERMAN, 1882-1943)Flute Player, circa 1930Art Deco, cold-painted bronze and ivory figure, cast and carved from a model and depicting a young man striding forth and playing a flute, raised on an onyx and slate base.45 cm high, 24.2 cm wide (with base)Signed on the base F Preiss.Ivory exemption certificate number: 55PHVU9EFootnotes:LiteratureAlberto Shayo, Ferdinand Preiss, Art Deco Sculptor, The Fire and the Flame, Antique Collectors' Club, 2005, p. 184 (similar model illustrated)This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 124
GOTTFRIED HONNEGER (NE NE 1917)Monoforme 26, 1989 Bronze à patine dorée réalisé pour le Bicentenaire de la RévolutionSigné et numéroté 284/500 sur le côtéAssociation pour la célébration du Bicentenaire de la Révolution Française en Dauphiné, éditeur, GrenobleUn certificat de l'éditeur sera remis à l'acquéreur26 x 26 x 13 cmBronze with gilded patina made for the Bicentenary of the French Revolution, signed and numbered 284/500 on the sideThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 126
JOSE LUIS SANCHEZ (1926-2018)Sans titre, circa 1970 Sculpture de forme géométrique en bronze reposant sur un socle en marbreSignée et numérotée 33/300 en creux23,5 x 11 x 8 cmBronze and marble, signed and justified '33/300'Footnotes:ProvenanceCollection particulière, ParisThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 55
MAN RAY (1890-1976)Herma (phrodite), 1973 Bronze poli et socle en boisSculpture signée et numérotée 169/350 en creuxEditée par les éditions Artcurial, Paris Hauteur: 35 cm (socle inclus)Polished bronze and wooden base, sculpture signed and numbered 169/350 in intaglioThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 189
CLAUDE LALANNE (1925-2019)Pomme bouche, circa 1999 Petite broche en bronze patinéEdition Arthus-Bertrand, Paris4 x 4 cmBronze brooch and patinaThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 174
VASSILAKIS TAKIS (1925-2019)Magnetic evidence, 1983 -1991 Bronze à patine dorée, aimant et clousSigné en creux en bas du torsePorte la numérotation tapuscrite 879/1000 sur un cartel au dosÉdition Artcurial, Paris, 1991Å’uvre présentée dans son emboîtage original et le certificat de l'éditeur45 × 30 × 20 cmBronze with gilded patina, magnet and nails, certificate justified 879/1000This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 190
CLAUDE LALANNE (1925-2019)Pomme bouche, circa 1999 Petite broche en bronze patinéSignature en creux au dos Edition Arthus-Bertrand, Paris4 x 4 cmSmall patinated bronze brooch, signed in intaglio at the backThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 125
JEAN-MICHEL FOLON (1934-2005)Le Prix Stendhal, 1993 Bronze à patine marronSigné en creux sur le coté et numéroté 5/8Cachet du fondeur Romain Barelier15,5 x 15,5 x 16 cmBronze with patina, inscribed Folon on the side and numbered 5/8Footnotes:Nous remercions la Fondation Folon de nous avoir confirmé l'authenticité de cette oeuvre et pour les informations communiquéesCette Å“uvre fut créée pour la remise du Prix Stendhal pour le Journalisme et la Communication en Europe par la Fondation Adelphi, sous le Haut Patronage du Parlement européen et de la Commission des Communautés européennes.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 101
1st millennium B.C. Domed with a rolled rim and vent at the apex; decorative band above the rim with reserved lozenges on a pounced field each with an impressed dimple to the centre; cracked to one side. See Makhortykh, S., Bronze bells of the 7th –6th century BC from the Scythian burial – mounds in the south of Eastern Europe, in ?????????? ???????????, vol.11, Odessa, 2016, for discussion. 19.47 grams, 48 mm (1 7/8 in.).Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998. For this specific lot, 5% import VAT is applicable on the hammer price
Lot 1017
14th-11th century B.C. With triangular blade, having a barbed deltoid shape and a rounded projecting midrib tapering towards the sharp point, cylindrical stem and rectangular sectioned tang: accompanied by a custom-made display stand. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figure 470, for the type. 36 grams, 21.5 cm (140 grams total, 22.5 cm high including stand) (8 1/2 in. (8 7/8 in.)).Acquired 1980-2015. Ex Abelita family collection.According to Khorasani, this type of arrowhead belongs to a subcategory of the category of type V of Luristan arrow points. In the four categories of triangular bronze arrowheads from Luristan, Marlik and Northern Iran individuated by Negahban, subtypes C and D of type V are larger arrow or javelin heads, C with barbed shoulders and D with round shoulders.
Lot 1030
Circa 11th century B.C. With heavy penannular rib, tapering triangular blade and round shoulders, flanged hilt with straight grip, widening to a fan-shaped pommel; accompanied by a custom-made display stand. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 12, for type. 554 grams total, 35 cm (37.5 cm including stand) (13 3/4 in. (14 3/4 in.)).Ex P.A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.These short daggers and dirks were mainly cast in one piece, and especially the penannular rib was cast on at the same time with handle and blade according to Medvedskaya. On the contrary, Moorey said that the penannular rib was later cast on the dirk, possibly to strengthen a weak point at the junction of hilt and blade.
Lot 1031
10th century B.C. With triangular blade and flat mid-rib, flanged hilt for the insert of a wood or bone inlay, hilt with expanded guard and crescent-shaped pommel. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, item 8. 474 grams, 43.5 cm (17 1/8 in.).Acquired 1980-2015. Ex Abelita family collection.This type of dirk belongs to the type III of Medvedskaya classification and is very common among daggers and dirks attributed to Luristan. The same scholar suggests that the dating for the whole series of type III daggers is an inscription on a type III dirk with the name of Marduk Nadin Ahhe (1100-1083 B.C.).
Lot 1033
11th-10 century B.C. Comprising four tanged arrowheads, two with elongated triangular blades and raised midrib, sharp central groove, cylindrical stem with handle for the shaft; one with barbed shoulders and convex sides; one with narrow and flattened blade and short tang; the javelin head with slightly rounded shoulders, lanceolate shape and flattened blade. See Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, figures 463, 468, for some of these types. 164 grams total, 13.1-17.8 cm (5 1/8 - 7 in.).From London art market, acquired in 1990s. Ex C.J. Martin, London, UK. Accompanied by a copy of the Spanish export licence.These types of arrowheads were commonly used in Anatolia and Mesopotamia from the 2nd millennium B.C., but it appears that their employment began earlier in this area, where types like these occur alongside the non-barbed, predominantly ribbed and tanged types. [5] For this specific lot, 5% import VAT is applicable on the hammer price
Lot 1034
13th-12th century B.C. Showing a long tapering blade with rounded shoulders and prominent mid-rib, the tang straight and rectangular in section. Cf. Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, s. cat 280, for type; Christies, Axel Guttmann collection of Ancient Arms and Armour, Part 2, London, South Kensington, 28th April 2004, lot 40. 348 grams, 43.4 cm (17 in.).Acquired 1980-2015. Ex Abelita family collection.The weapon belongs to the type 1 of the Khorasani spearhead classification, mainly from Marlik or Amlash areas. Similar pieces have been dated by Stutzinger to 1200-1100 B.C., but the period of use is attested to at least until 1000 B.C.
Lot 1040
9th-11th century A.D. Piriform body with domed filler-hole; intended to be filled with explosive liquid and wick, used as a hand grenade. Cf. Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42; cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; cf. Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16. 434 grams, 12.4 cm (5 in.).Acquired 1980-2015. Ex Abelita family collection. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (??????? k???????) 9th-11th century AD'.Apart from the use of siphons or manual flame-throwers called cheirosiphona, special corps of Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. Such were the ??????, vessels (sometimes also of bronze) used for Greek fire. They were called ?????? k?????? or ???????????? where the former had a bulbous shape and the latter a more cylindrical form. [No Reserve]
Lot 1053
1st-4th century A.D. Comprising a curved single-edged iron blade; openwork bronze handle with a standing eagle finial; an open groove to the back of the eagle and handle to accept the folding blade. 37 grams, 14.5 cm (5 3/4 in.).Ex California, USA, collection formed since the late 1960s. European art market before the late 1990s. [No Reserve]
Lot 1057
9th-11th century A.D. Piriform body with domed filler-hole, marked by horizontal lines to the shoulder; intended to be filled with explosive liquid and wick, used as a hand grenade. Cf. Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42; cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; cf. Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16. 355 grams, 10.3 cm (4 in.).Acquired 1980-2015. Ex Abelita family collection. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 15 July 2019 and titled 'Eastern Roman Empire - Greek Fire Bomb or Hand Grenade (??????? k???????) 9th-11th century AD'.Apart from the use of siphons or manual flame-throwers called cheirosiphona, special corps of Roman soldiers employed terracotta grenades, in the form of small jars, abundantly evidenced in archaeological excavations. Such were the ??????, vessels (sometimes also of bronze) used for Greek fire. They were called ?????? k?????? or ???????????? where the former had a bulbous shape and the latter a more cylindrical form. [No Reserve]
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