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Lot 546
LEONORE GERBER-SPORLEDERHerne 1912 - 2006KONVOLUT VON 4 BRONZEN 2 Bronzereliefs, 2 Bronze-Figuren, braun patiniert. Jew. monogrammiert. Bronzerelief mit Kühen, 1 x 13 x 20 x cm; Bronzerelief mit figürlichen Darstellungen, 1,5 x 17 x 13 cm; Weiblicher Akt Stehend, H. 28,5 cm; Liegende Kuh, 9,5 x 16 x 9 cm. Part. mit Oxidationsspuren.
Lot 564
REINHARD DACHLAUER1922 Frankfurt a.M. - 1995 WürzburgMONUMENTALE AUSSEN-PLASTIK 'SCHUHSCHNABEL' Bronze, auf Steinsockel, patiniert. Ges.-H. 104 cm (kein Versand möglich). Auf der Unterseite monogrammiert. Part. verschm, an beiden Fuß besch., mit Oxidationsspuren, part. ber. Provenienz: Privatsammlung Ruhrgebiet.
Lot 565
REINHARD DACHLAUER1922 Frankfurt a.M. - 1995 WürzburgMONUMENTALE AUSSEN-PLASTIK 'SCHUHSCHNABEL' Bronze, auf Steinsockel, patiniert. Ges.-H. 124 cm (kein Versand möglich). Auf der Unterseite mit Künstlerstempel bez. 'Dachlauer D8700 Würzburg 2/8'. Part. verschm, mit Oxidationsspuren, part. ber. Provenienz: Privatsammlung Ruhrgebiet.
Lot 566
EDITH VON SANDEN-GUJA1894 Guscht, Neumarkt - 1979 DiepholzKONVOLUT VON 4 BRONZE-FIGUREN 'VÖGEL' 4 Bronzen, dunkelbraun patiniert. H. bis zu 20 cm, Ges.-Gew. 5,7 kg. Unterm Stand jew. signiert, 1 mit Gießereistempel. Darstellungen der Vogelarten: Wasserralle, Trauerseeschwalbe, Rauchschwalbe, Amsel. Teilw. min. mit Oxidationsspuren, part. ber.
Lot 570
PAUL WUNDERLICH1927 Eberswalde - 2010 Saint-Pierre-de-Vassols'MINOTAURUS' Bronze, dunkelbraun patiniert, part. poliert. H. 78, Gew. 6,3 kg. Seitlich auf dem Sockel signiert, nummeriert '968/2000' sowie mit Gießereistempel venturi arte. Part. mit Oxidationsspuren, part. min. ber., part. min. best.
Lot 572
SALVADOR DALI1904 Figueres, Girona - 1989 ebenda'THE SURREALIST ANGEL' (1983) zusammen mit Rudolf Rom Bronze, dunkelbaun patiniert, auf Messingfuß. H. 56 cm, Gesamt-Gew. 7,9 kg. Seitlich signiert, mit Gießereistempel und nummeriert '1151/1500'. Part. ber. Expertise: Mit notariellem Zertifikat, Schwetzingen 1986.
Lot 579
BRONZE 'MERCEDES-BENZ GRAND PRIX RENNWAGEN GEBAUT NACH DER FORMEL 1, 1954 UND 1955' Original Bronzemodell W196, dunkelbraun patiniert, auf Marmorsockel. 9 x 26 x 10 cm (Sockel 2,5 x 30,5 x 12,5 cm). Vorderseitig mit Plakette bez. Beigabe:- Bronzeplakette, bez. 'Zum Gedächtnis Bernd Rosemeyer (28.1.1938)' und 'Auto Union DKW' und monogrammiert 'HRB', Lauer Nürnberg- Beigabe von sechs Magazin-Ausgaben; zwei 'DKW Nachrichten' (1955-1956), zwei 'Das Autohaus (1959, 1962) und 'Auto Union' sowie 6 Ausgaben 'Werkstatthandbuch für Zweitakt-Motoren', 'Zweitaktspülung' und vier Ausgaben von DKW-Betriebsanleitungen. Part. min. mit Kratzspuren.
Lot 593
ALFRED HRDLICKA1928 Wien - 2009 ebendaWAGNER ALS FAFNER (WOHL 2001) Bronze, dunkelbraun patiniert. H. 23 cm, B. 18 cm, T. 32 cm, Gew. ca. 12 kg. Seitlich monogrammiert 'AH' und bez 'e.a.'. Wohl ausgestellt im Schloss Elisabethenburg, Ausstellung 'Alfred Hrdlicka in Meiningen' (16. April bis 09. September 2001). Part. min. ber., min. Verlust der Patina. Provenienz: Privatsammlung Nordrhein-Westfalen.
Lot 599
MODERNE BILDPLASTIKERtätig 2. Hälfte des 20. Jh.BRONZE MIT SCHMELZENDER OPTIK 2-teilige Bronze, teilw. poliert, teilweise dunkeltbraun patiniert. H. gesamt 31 cm, Sockel: 24,5 x 10 x 10 cm. Unten wohl monorgammiert, betitelt 'OPUS II' sowie nummeriert '8/376'. Part. ber., part. mit Kratzspuren, part. best.
Lot 615
GERD EDINGER('XO SIGNS')1951 Sensweiler, Hunrück - lebt und arbeitet in DüsseldorfKONVOLUT VON 3 SKULPTUREN Bronze, dunkelbraun patiniert bzw. Gips, teilw. bemalt. H. 30,5 cm bzw. 38,5 cm (inkl. Steinsockel) bzw. 2. Bronze unterm Stand monogrammiert, nummeriert '20/20', mit Gießereimarke bzw. rückseitig signiert und datiert '2007'. Part. ber. Provenienz: Privatsammlung Ruhrgebiet.
Lot 181
Ivor Abrahams (British, 1935-2015) Oxford Gardens, 1977 Screenprints x 10 Limited edition No. 64/250 Signed and dated on each print by artist on margin Largest 16 x 28cm (6.5" x 11") From the Bernard Jacobson Gallery Collection Ivor Abrahams (British, b 1935-2015) was a British sculptor, ceramicist, and printmaker best known for his polychrome sculptures and his stylised prints of garden scenes. He studied at Saint Martin's School of Art under Anthony Caro from 1952 to 1953 and at Camberwell School of Arts and Crafts under Karel Vogel from 1954 to 1957. In 1957, Abrahams went on to apprentice at the Fiorini Art Bronze Foundry and worked as a display artist for Adel Rootstein. After traveling extensively through Europe, Abrahams began his teaching career in 1960. He served as a visiting lecturer at Birmingham School of Art, Coventry College of Art, Goldsmiths' College, the Royal College of Art, and the Slade School of Fine Art. From 2007 to 2010, he was a professor of sculpture at the Royal Academy Schools. Ivor Abrahams's first show was with Peter Blake at Portal Gallery in 1960. He also exhibited in the landmark 22 Young Sculptors exhibition at the Institute of Contemporary Arts in 1961. By the late 1960s, Abrahams found inspiration in the imagery of domestic gardens. He began experimenting with new materials, including bronze, nylon flocking, pre-vulcanized latex, styrene and plastics. His first solo show in the United States took place at Richard Feigen Gallery in 1970. Abrahams established his international reputation with a major museum show at the Kölnischer Kunstverein in Cologne in 1973. He went on to have many solo shows in museums and private galleries across Europe and the United States. These shows included a major retrospective at the Yorkshire Sculpture Park in 1984. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 205
David Shrigley (British, b. 1968) Untitled (SOME OF MY BEST FRIENDS ARE PIGS) - One of the Four Animal series , 2019 Lithograph prints on paper 2020 Printed by Narayana Press, Published by ShrigShop, Copenhagen Unsigned and unframed 80 x 60cm (31 1/2 x 23 5/8") David Shrigley was born in 1968 in Macclesfield, UK. He lives and works in Brighton and Devon, UK. In January 2020 the artist was awarded the decoration of Officer of the Most Excellent Order of the British Empire or OBE. His digital animations such as ‘Headless Drummer’ and ‘The Artist’ demonstrate what Shrigley calls ‘the economy of telling stories’, delivering a deftly crafted mix of dark and light through the simplest of forms. In his sculptural works, rendered in materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale. Taking Lewis Carroll's perspective of Wonderland, Shrigley enlarges objects and imbues them with curious proportions. Shrigley was a Turner Prize nominee in 2013, following his major mid-career retrospective ‘Brain Activity' at the Hayward Gallery, London. In September 2016, his monumental sculpture ‘Really Good' was unveiled in Trafalgar Square, London for the Fourth Plinth Commission. Other solo museum exhibitions include those at Copenhagen Contemporary, Denmark (2020); Newstead Abbey Historic House & Gardens, Nottinghamshire, England (2019); Museo de arte Carrillo Gil, Mexico City, Mexico (2019); Art Omi, Ghent, New York, USA (2019); Spritmuseum, Stockholm, Sweden (2018); Deste Foundation Project Space, Greece (2018); Fabrica, Brighton, England (2018); Rose Art Museum, Brandeis University, Massachusetts, USA (2016); National Gallery of Victoria, Melbourne, Australia (2014); Pinakothek der Moderne, Munich, Germany (2014); Hayward Gallery, London, England touring to Yerba Beuna Centre for the Arts, San Francisco, USA (2013); Cornerhouse, Manchester, UK (2012); Mumbai Art Rooms, Mumbai, India (2012); Turku Art Museum, Turku, Finland (2011) and Bergen Kunsthall, Bergen, Norway (2009). Shrigley’s works are included in prominent collections internationally, including Museum of Modern Art, New York, USA; Art Institute of Chicago, Illinois, USA; Museum Ludwig, Cologne, Germany; Pinakothek der Moderne, Munich, Germany; Centre Pompidou, Paris, France; Statens Museum for Kunst, Copenhagen, Denmark; Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria; Scottish National Gallery of Modern Art, Edinburgh, Scotland; Tate, London, England; British Council, London, England; and National Gallery of Victoria, Melbourne, Australia. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 50
Peter Thursby (British, 1930 - 2011) From the series Winged Creatures or Box Spout, c. 1964 Aluminium Signed PT to back 55 x 40 x 22cm (21.5" x 16" x 8.5") The sculptor produced his first work in the wake of the Second World War, a time when new and brutal abstract art came into being, challenging the semi-abstract and the figurative. His early sculptures were hard and aggressive, with form sacrificed to surface qualities. In time a more human modernism took over. His work ranged in scale from the architectural and monumental to small pieces for domestic interiors. He worked with a range of materials, from cast concrete, stone and slate to bronze, stainless steel, aluminium and silver. His Winged Creatures series, and in the following creations, started a new exploration in his career as a sculptor where he regained an attention to form and organic qualities. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 85
John Huggins F.R.B.S. (British, b. 1938) Untitled, c 1970s Patinated bronze 34 x 20 x 14cm (13" x 8" x 5.5") Huggins is a sculptor and teacher, born in Wiltshire. He studied sculpture at West of England Art College, Bristol, 1956–61, gaining among awards the prize for sculpture in both 1959–60. He became a part-time lecturer at Bristol Polytechnic and Bath Academy of Art until 1977, then decided to sculpt full-time. Huggins’ affinities were with artists such as Brancusi and Duchamp-Villon, being concerned with forms and their interaction and impeccable craftsmanship. Mounting on black bases was a feature of his sculptures. Initially he showed in the Bath and Bristol area. His 1974 show 'Of Motvive Force' at the Alwain Gallery marked rhe resumption of Huggins' Lonson exhibition career. The title reflected the artist's interest in dynamic force, not of a plastic kind leadng to a Boccioni-like analysis of objects in kinetic transformation, but one that originated in direct and personal experience of cars, boats, surfboards, and other 'vehicules vitesse'. The streamlined shapes contained a gestalt of speed and movement. At the same time Huggins often sought to 'anchor' teh objects to the ground by creating flaired black timber bases, or plinths, [...], that functioned as part of the sculptural syntax. ' Peter Davies, John Huggins Sculptor. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 1
This stunning bronze depicts a covey of quail being flushed out by a hunting dog. This bronze is set on a granite slab atop a wooden base. Goldplate attached to base reads, Shinnery Oak Bobwhites. Artist signed and numbered to base. Artist: Eric Slocombe (American, b. 1962)Issued: 2011Dimensions: 12"L x 11.5"W x 10.25"HEdition Number: 15/48
Lot 10
Titled: Daydreaming. Impressive museum-quality bronze figural sculpture. Modeled as an Apache woman seated with a green-patinated cloak enveloping her body. Her skin appears as a rich brown and her hair has a black glossy finish. The sculpture is fixed to a dark solid wood base. Artist's signature impressed to side with the date and edition number. Artist: Craig D. GoseyunIssued: 1990Dimensions: 27"L x 15.5"W x 19.5"HEdition Number: 8 of 14 Country of Origin: United States
Lot 48
Post-impressionist style oil on canvas painting depicting a serene coastal setting with beached fishing boats with a dusky pink and blue sky and ocean in the background. Signed by artist in the lower left corner. Josep Costa Vila is an award-winning artist whose works have been shown internationally. Wood frame with bronze-toned veneer. Sight size: 25"W x 12.5"H; frame: 31"W x 18.5"H x 1"D. Artist: Josep Costa Vila
Lot 34
Georg Kolbe (Waldheim/Sachsen 1877 – 1947 Berlin). „Sklavin“. 1916Bronze mit schwarzer Patina. 70 × 15 × 21 cm (27 ½ × 5 â…ž × 8 ¼ in.). Auf der Plinthe monogrammiert: GK. Auf der hinteren Schmalseite der Plinthe mit dem Gießerstempel: H.NOACK BERLIN.Berger 29.–Einer von mindestens 12 Güssen. [3204] Provenienz: Sammlung Cantor-Fitzgerald, Beverly Hills / Privatsammlung, Berlin (1989 in der Galerie Ludorff, Düsseldorf, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Lot 4
Tony Cragg (Liverpool 1949 – lebt in Wuppertal). Ohne Titel (aus der Serie „Rational Beings“). 2019Bronze mit brauner Patina. 90 × 25 × 38 cm (35 â…œ × 9 â…ž × 15 in.). Unten monogrammiert (gestempelt): TC. Ebenda mit dem Gießerstempel.[3000] Provenienz: Privatsammlung, Rheinland (in der Galerie SETAREH, Düsseldorf, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Lot 41
Baltasar Lobo (Cerecinos de Campos 1910 – 1993 Paris). „Pièce d’eau sur socle. 1971–1986Bronze mit anthrazitgrauer Patina. 155 × 194 × 107 cm (61 × 76 â…œ × 42 â…› in.). Auf der Oberseite des Sockels signiert: Lobo. Dort auch der Gießerstempel: FONDE-RIA ART. FLLI BONVICINI SOMMACAMPAGNA.Barañano 8605. Mit einer Bestätigung von Alejandro Freites, Caracas, vom 6. Juli 2007.–Einer von 8 nummerierten Güssen. Patina mit Witterungsspuren. [3000] Provenienz: Privatsammlung, RheinlandWir berechnen auf den Hammerpreis 32% Aufgeld.
Lot 8
Renée Sintenis (Glatz/Schlesien 1888 – 1965 Berlin). „Große Daphne“. 1930Bronze mit brauner Patina, auf Steinsockel montiert. 144,5 × 31 × 31 cm (56 â…ž × 12 ¼ × 12 ¼ in.). Rückseitig unten signiert: R. SINTENIS. Darunter der Gießerstempel: H.NOACK BERLIN.Werkverzeichnis: Berger/Ladwig/Wenzel-Lent 117.–Guss nach 1945. [3063] Provenienz: Privatsammlung, Berlin (2003 bei Grisebach, Berlin, erworben) / Privatsammlung, EuropaWir berechnen auf den Hammerpreis 32% Aufgeld.
Lot 309
Lima Locomotive Works Builders Plate April 1917, serial #5436, diamond shaped cast bronze Property from: a Private Collector, Huntley, Illinois Height: 7 inches, Width: 12 3/4 inches Condition: overall light wear consistent with normal use, re-painted Category: Collectibles > Railwayana Estimated Sale Time: 3:03 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2
Lot 6555
Französisch -- um 1815/1820. Miniatur Portrait eines zur Seite blickenden Mannes genannt Daubenton, mit langem, weiß gepudertem Haar und Koteletten, in schwarzer Jacke mit blau gestreifter Weste und geknoteter weißer Halsbinde mit Spitzenjabot. Aquarell und Gummiarabikum auf Elfenbein. 4 x 3,3 cm (oval). In vergoldeter Kupferfassung auf rechteckigem, blauem Plüschpaneel mit Blattmotiv-Bordüre aus vergoldeter Bronze.Louis Jean-Marie Daubenton (1716 Montbard - 1799 Paris), französischer Arzt und Naturwissenschaftler, war der erste Direktor des Pariser Muséum national d'histoire naturelle. Provenienz: Familie Cuvier. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 6562
Bouchardy, Étienne -- Miniatur Portrait eines Mannes mit schwarzem Lockenhaar, in grau-grüner Jacke, weißer Weste, Hemd und geknoteter Halsbinde.Mittig entlang des linken Bildrandes absteigend in Rot signiert und datiert "E. Bouchardy. 1830." und unten rechts beschriftet "19.".Aquarell und Gummiarabikum auf Elfenbein. 9,7 x 7,7 cm (oval). In vergoldeter Kupferfassung auf rechteckigem, mit Fruchtholz furniertem Holzpaneel besetzt mit vier Blattmotiv-Spandrillen aus vergoldeter Bronze.Im Pariser Salon von 1831 stellte Bouchardy unter der Nummer 199 einen "cadre de miniatures" aus; angesichts der Größe vorliegender Miniatur kann sie durchaus in diesem Miniaturenrahmen enthalten gewesen sein. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Lot 56
Sir Charles Bennet Lawes-Wittewronge, 2nd Bart., (British, 1843-1911): A carved white marble figural group of Venus and Cupid (Opus 2)The semi-clad goddess looking down on the standing winged putto, his face upheld and clutching his bow, her folded robe and jewelled belt draped across her raised left knee, her hair dressed in an elaborate curling chignon, her foot resting on a rustic outcrop, on square integral plinth base, signed to the front left corner LAWES and inscribed and dated to the right rear corner OP 2 1873, 157cm high, 72cm wide, 56cm deep overall approximatelyFootnotes:ExhibitedThe Royal Academy, Annual Exhibition, 1873, cat.1507.The entry for no. 1507 from the original 1873 Annual (now called Summer) Exhibition catalogue reads as follows:'1507 Female figure and Cupid...C.B Lawes'Sir Charles Bennet Lawes-Wittewronge, 2nd Baronet (1843–1911) was an English rower, athlete and sculptor. Educated at Eton and Trinity College, Cambridge, Charles married his first cousin Marie Amelie Rose Fountaine. After initial successes in the fields of rowing and running whilst at University, he changed direction in the later 1860's, training as a sculptor under the renowned British sculptor John Henry Foley RA (1818-1874) who was a favourite of Queen Victoria's and who made the model for the statue of Albert for the Albert Memorial. Later he trained under the German sculptor Hugo Hagen (1818-1871) before returning to London where he rented a studio in Chelsea. In 1872, he exhibited his work 'Girl at the Stream', the first of twelve exhibited works, at the Royal Academy with later works including 'Daphne' in 1880 and 'The Panther' in 1880. During this period he also won an honourable mention at the Paris Universal Exhibition in 1878. In 1882 he was involved in an infamous libel case with the magazine Vanity Fair concerning the authorship of another sculptor's work and in 1889 he took up competitive cycling. Later in 1901 along side Sir Arthur Conan Doyle, he judged the world's first major bodybuilding competition organised by Eugene Sandow at London's Royal Albert Hall in 1901. In 1906, five years before his death, Laws returned to the field of sculpture, when he executed a bronze group entitled 'The Death of Dirce' based on the Farnese Bull. This work was subsequently realised in more monumental form in marble where it was exhibited at the Franco-British Exhibition in 1908, the same year that as the bronze group was being exhibited at the Royal Academy. The marble is now in the grounds at Rothamsted. After the Law's death, his widow offered the bronze version to the National Gallery of British Art (later the Tate Gallery) where it was installed on an outside entrance where it still stands today.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 29
Attributed to Claude Galle (French, 1759-1815): A good early 19th century French gilt bronze and rouge griotte marble figural mantel clockThe figural mount perhaps in the manner of Louis-Simon Boizot (French, 1743-1809)The arched rectangular case on a stepped rectangular pedestal, with applied winged flambé torch and fruiting laurel and oak leaf wreath mounts, and with foliate and stiff leaf cast borders, the front with an applied figural mount formed as a classical maiden, holding aloft drapery to partially conceal the dial, the whole raised on conforming rectangular plinth base and moulded foot, the rotating dial with Roman enamelled chapter ring with milled centre and poker hands, the brass twin train movement with silk suspension and outside count wheel striking on a bell, with pendulum, 53.5cm highFootnotes:ProvenanceNorman Mackinnon (1923-1989), former MD of Drambuie, Scotland and self-proclaimed 'Whisky Baron' and a collector of fine art, furniture and objects, cars, and properties. The clock stood on the mantlepiece in the grand dining room of his Edinburgh home and at the end of a dinner party when it chimed midnight he would announce to his guests that the evening was over. By repute it had been inherited from his mother Gina Mackinnon who was famous for safeguarding the Drambuie recipe. Thence by decent to the present owner.The offered lot is thought to be one of three known examples of this model attributed to Claude Galle, one of the other two being a near identical clock, excepting the case, which is in green marble, which is in the permanent collection of clocks at Belmont House, Kent. Known as the 'Amitea clock', the name is perhaps derived from 'Laudatio Luliae Amitae' which was a funeral oration that Julius Caesar gave in 68 BC to honour his dead aunt Julia, the widow of Marius with the figure to the front of the clock perhaps representing a mourning praeficae. One of the leading French bronziers of his day, Claude Galle created numerous gilt bronzes for the Royal and subsequently Imperial household. Born at Villepreux near Versailles, he was apprenticed to the fondeur, Pierre Foy at rue du Four. In 1784 he married Foy's daughter and after his masters death, took over the workshop and built it into one of the finest of its kind, eventually employing about 400 craftsmen. In 1786 he became a maitre-fondeur and in the same year received the first of many commissions from the Garde-Meuble to furnish the royal palaces. Galle moved the business to Quai de la Monnaie and from 1805 traded from 60 Rue Vivienne.Louis-Simon Boizot worked in the atelier of the sculptor René-Michel Slodtz (1705–1764) who also trained Houdon. In 1778 he was admitted to the Académie royale de peinture et de sculpture and exhibited at the yearly salons until 1800. His portrait busts of Louis XVI and Joseph II were created in 1777 and made in bisque porcelain at Sèvres. From 1773 to 1800 Boizot directed the sculpture workshop of the Sèvres porcelain Manufactory, producing the series of unglazed biscuit figures with a matte finish resembling that of marble. Boizot also created terracotta designs for gilt-bronze clock cases including the allegorical 'Avignon' clock, now in the Wallace Collection in London, which was cast and chased by Pierre Gouthière in 1777.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 71
A pair of late 18th / early 19th century gilt and patinated bronze figural candelabraProbably French, circa 1800 The twin asymmetric foliate scrolling branches with twin graduated petal collars and stiff leaf cast tapering urn candle nozzles, supported by male and female chinoiserie figures, their elaborate costumes adorned with shells, each standing on a white marble dwarf column pedestal with milled moulded foot and raised on a canted shallow plinths, the nozzles lacking their drip pans, 39.5cm high (2)Footnotes:ProvenanceEuropean Private CollectionSothebys London, Design 17/20: Furniture, Silver, Ceramics & Clocks,9 November 2022T, Lot 108.For further information on this lot please visit Bonhams.com
Lot 75
Raymond de Meester de Betzenbroeck (Belgian, 1904-1995): A patinated bronze model of a dromedary camelRaised on a naturalistic rectangular base, signed and inscribed to the front Raymond de Meester and EX. AU.MUSEE d'ANVERS and with Epreuve d'artiste a Cire Perdue foundry mark to the rear, 39cm high Footnotes:ProvenanceUK Private CollectionThis 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 70
A pair of unusual late 18th century gilt bronze and white opaque glass cassolettesThe gilt bronze mounts perhaps English in the French taste, the glass in the manner of James Keir, circa 1790The ovoid bodies on shaped and tapering milled tripod supports with scrolling foliate finials and corresponding lower girdles terminating in hoof feet above a further central canted foliate baluster slender support, the upper milled girdles to the rims united by beaded tassel hung chains, the domed covers with pierced foliate collars and fruiting knopped finials reversing to foliate milled banded swept candle nozzles, the stepped circular bases with beaded borders, 24cm high (2)Footnotes:A comparable gilt bronze mounted vase by Matthew Boulton with a similar opaque glass body by James Keir dated to circa 1770 is with Thomas Coulborn & Sons, Sutton Coldfield. This vase conforms to a vase sketch numbered 1241 in the original Boulton and Fothergill pattern book and is illustrated in Sir Nicolas Goodison's reference 'Matthew Boulton: ORMOLU' plate 294, p. 311, London, 2002. In the book, Goodison notes that although blue john took perhaps the most prominent role for the material's used for vases, Boulton also wrote a list of suitable vases bodies in 1769 which included 'Glass blew and other colours' (see p.48). Goodison also writes that several of the other vase bodies were bought from specialist producers and included an order for 'twenty-four glass vases from James Keir in 1772, twelve in each of two moulds.'Scottish born James Keir (1735-1820) was a chemist, geologist, industrialist, and inventor, and also an important member of the Birmingham Lunar Society. He was part of group which leased a long-established glassworks at Amblecote near Stourbridge, which he managed. Whilst there, Keir continued his chemical experiments and he also became friends with Matthew Boulton. In the autumn of 1768 he was subsequently commissioned by Boulton to produce glass bodies for vases and he was also offered a partnership by Boulton and Fothergill but declined' (see also p. 48).CFor further information on this lot please visit Bonhams.com
Lot 69
A pair of late 19th century French gilt bronze three light wall appliquesPerhaps in the manner of Alfred Emmanuel Beurdeley (French, 1847-1919), and in the Louis XVI transitional style The reeded and fruiting vine and acanthus scrolling arms with stiff leaf cast spreading collars and shankered waisted urn nozzles, the drapery wrapped intertwined pendant backplates with ribbon tied crestings and tasselled terminals, later drilled for electricity 57cm high overall (2)Footnotes:Similar drapery-tied backplates to the those of the offered lot were first recorded in 1756 in the form of two pairs of wall appliques designed by Pierre Contant d'Ivry and supplied by Thomas Germain in 1756 to the duc d'Orléans for the Palais-Royal. Now in the J. Paul Getty Museum, these lights are illustrated in P. Verlet, Les Bronzes Dorés Français du XVIIIe Siècle, France, 1987, no. 18, p. 30. However a perhaps more closely related multiple set of wall appliques to the offered lot with ribbon-tied cresting and reeded branches, dating to circa 1775-80, were originally supplied by Quentin-Claude Pitoin in 1777 for M. Amelot, ministre de la maison du Roi (illustrated in P. Verlet, Les Bronzes Dorés du XVIIIe Siècle, France, 1987, p. 89, ill. 94). Of this set, which consisted of at least six pairs of appliques, one pair was sold from the Collection Lehmann in Paris, Galerie Georges Petit, 4-5 June 1925, lot 92; another pair was sold from the collection of Jaime Ortiz-Patiño, Sotheby's New York, 20 May 1992, lot 38; a further pair was sold from the Alexander Collection, Christie's New York, 30 April 1999, lot 179; whilst two pairs of similar wall appliques were apparently offered by Partridges, New Bond Street in Recent Acquisitions 1996, London, no.44, p.107, one pair possibly from the same source. These appliques were also discussed in relation to a comparable set of four twin branch wall lights, parts Louis XVI, circa 1780 and parts Restauration, circa 1820 offered as lots 39 and 40, from the Estate of Wendell Cherry, Sotheby's, New York, 20 May 1994, and were subsequently offered as lots 326 and 327 from the Estate of Ann & Gordon Getty Collection: Volume 3, English and European Furniture, Porcelain and Silver, Christies, 22 October, 2022, lots 326 and 327.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 59
Frederic Leighton, 1st Baron Leighton P.R.A., R.W.S., known as Sir Frederic Leighton (British, 1830-1896): An important bronze figure of 'An Athlete Wrestling A Python'The posthumous cast published by Ernest Brown and Phillips at the Leicester Galleries, circa 1909On rectangular naturalistic base, signed, dated and numbered to one side F. LEIGHTON 1877 XVI, and inscribed to the base verso PUBD BY ERNEST BROWN & PHILLIPS AT THE LEICESTER GALLERIES, LEICESTER SQUARE, LONDON., brown patina, raised on a corresponding verde antico shallow square plinth, the bronze, 52cm high, 34m wide, 29cm deep, the marble plinth, 2.5vm high, 31cm wide, 22cm deepFootnotes:ProvenanceAcquired by Sunderland businessman, Paul Wayman, circa 1920Thence by family descent to the present owner. Although Leighton's fame as a renowned and celebrated painter was firmly established by the close of the third quarter of the 19th century, his success in sculptural terms did come until 1877 when he debuted his work 'Athlete Wrestling with a Python' at the Royal Academy. At the time of exhibition, it was also alternatively known to reviewers as 'An Athlete Strangling a Python' and 'An Athlete Struggling with a Python'. Whichever title its reviewers used, the finished work was held to great acclaim by both critics and the public and it catapulted Leighton to an international spotlight, later leading him to be proclaimed as 'the father of the English New Sculpture movement'. However, even though he only returned to the medium of sculpture on two subsequent occasions with his figures of 'Needless Alarms' and 'The Sluggard', both of which also proved highly successful, it was this sculpture that defined him for posterity to both critics and the public alike. Influenced by antique Greek sculpture and particularly 'The Laocoön' which formed part of the Vatican sculpture collection, the work represents a dramatic life and death scene of a classical male nude contending a python which is coiled around his left thigh and whose head is held at bay by his rigidly outstretched arm. Leighton's powerful and complex design commands a sense of suppressed energy and opposing forces momentarily balanced at a point of supreme tension. Although the realism of the figures anatomy was undoubtedly influenced by the sculptors of antiquity and the Renaissance including the work of Michelangelo, it also owned a debt to contemporary French sculpture which gave it a naturalism far removed from the uniform excesses of the neo-classical works produced by sculptors of a generation before.The model for the work was the professional sitter, Angelo Colorosi who was a leading figure in the Italian group of professional male models in the later 19th century. From contemporary interviews which Leighton made with the Studio magazine in the early 1890's, he confirmed he originally modelled the piece as a small-scale clay figure. However, the decision to turn it into a large-scale bronze was made on the encouragement of either the sculptor Jules Dalou (French, 1838-1901) who was in exile in London during that time or perhaps his contemporary, Alphonse Legros (French, 1837-1911). Assisted by Leighton's protégé, Thomas Brock (British, 1847-1922), the full-size model was first modelled in plaster and then cast in bronze by Cox & Son before it was exhibited at the Royal Academy. Its influence was also far reaching to the new generation of emerging New Sculpture artists including the young Brock, Hamo Thorneycroft, Edward Onslow Ford, George Frampton and interestingly, Alfred Gilbert, who's first work, a figure of 'Icarus' was coincidentally commissioned by Leighton. The sculpture's popularity was sealed when it was purchased on behalf of the Tate by the Chantrey Bequest in 1877 and it won the gold medal when it appeared at the prestigious Exposition Universelle in Paris the following year. A monumental marble replica of the sculpture was subsequently commissioned by the wealthy Danish brewer Carl Jacobsen for the museum bearing his name in 1882 and much of the carving for this work was done by the New Sculpture sculptor Frederick Pomeroy (British, 1856-1924) at the start of his career whilst still working in Brocks studios.Reductions of the bronze were posthumously published in edition casts of two similar sizes between 1903-1910. The first edition was published by Arthur Collie. The second edition was published by Ernest Brown and Phillips at the Leicester Galleries. In 1909, The Magazine of Art announced that the Leicester Galleries were to publish Leighton's 'An Athlete Struggling with a Python' in an unspecified limited edition. The offered lot appears to be a relatively early cast from this second edition.Frederic Leighton was the son of doctor and began his artistic education in Italy when he travelled to Rome and Florence in 1840 before becoming a pupil of Zanetti and meeting the American sculptor Hiram Powers. Moving to Frankfurt in 1844 he studied under the Nazarene painter E. J. von Steinle at the Institut Staedel before travelling to Brussels and Paris then finally returning to Rome in 1852.Surrounded by a group of ex-patriot writers and artists such as Thackeray, Browning and Gibson, he established his reputation as a painter with his work 'Cimabue's Madonna carried in Procession' which was exhibited at the Royal Academy in 1855 and subsequently purchased by Queen Victorian and Prince Albert for the Royal Collection.At the Royal Academy, Leighton progressed from ARA in 1864 and RA in 1868 to become President in 1878. At the same time in keeping with his growing stature he also began work on his house, no. 2 Holland Park Road (now the Leighton House Museum) in 1865. In public life, he was the only sculptor to receive a barony being created a baronet in 1886 and Baron Leighton of Stretton in 1896.Related LiteratureStephen Jones, Christopher Newall, Leonée Ormond, Richard Ormond, Benedict Read, Frederic, Lord Leighton, Eminent Victorian Artist, 1996, Harry N. Abrams, Inc, Pub. with The Royal Academy of Arts, London, p. 182-183.Peyton Skipwith, Sir Alfred Gilbert & The New Sculpture, British Sculpture 1850-1930, The Fine Art Society in association with Robert Bowman, p. 72-75.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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