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Lot 333
After Emile Boyer. A 19th Century patinated bronze centre-piece, with dished circular top measuring 36cm in diameter, supported by three semi-naked figures in the classical taste, comprising a man with harvested wheat, a man holding a young buck, and a woman holding an oar and fish, on a trefoil shaped cast base, unsigned. Approximately 45cm high.
Lot 151
A selection of objects of virtu to include an early 19th century miniature tortoiseshell mother of pearl and ivory mandolin, 13cm, a carved lime wood Corpus Christi, 20cm, a treen love spoon with three inset beads to the handle, 20cm, a treen thimble holder in the form of an acorn in various woods, 5cm, two white metal thimbles, two bronze brooches, one in the form of a horse, probably Roman, 5.5cm and 4cm respectively, a continental porcelain oval plaque of a child and lamb in gilt metal mounts, 3.5cm, a Royal Worcester porcelain florally decorated rouge pot (8)
Lot 65
A pair of Minton parian figures of Ariadne and Una and the Lion by John Bell,circa 1851,impressed marks, 36cm high (damages to both)Ariadne was exhibited by Minton at the Society of Arts in 1847 and at the Great Exhibition 1851. Dannecker's life-size marble (1814) was formerly in the von Bethman Museum in Frankfurt. Other versions are at Stuttgart and the Musee de Saint-Etienne. One of the most often reproduced sculptural designs in 19th century Europe, it appears in bronze and other forms. Ariadne, having been abandoned by Theseus on the island of Naxos, is seen here as the bride of Bacchus - the panther she reclines on is one of his train.Una and the Lion:Made for Summerly's Art Manufactures and exhibited by Minton at the Great Exhibition in 1851. This group was conceived as a companion to the Ariadne. The full scale statue, also known as 'Purity', was included in the Sculpture section of the Great Exhibition 1851. The subject is from Spencer's 'Faerie Queenie'. Una, who personifies True Religion, following her separation from the Red Cross Knight, is given protection by a lion, who represents England. "The lion would not leave her desolate, but with her went along, as a strong gard of her caste person." ("The Faerie Queene", Book 1, Canto iii."
Lot 70
A Minton parian figure of William Shakespeare by John Bell,mid-19th century, 45.5cm highSee Paul Atterbury, The Parian Phenomenon, fig. 133, p. 86 and fig. 37, p. 25. A full scale plaster statue, after the bust over the Poet's tomb at Stratford-upon-Avon, was shown by Bell at the Great Exhibition in 1851. Summerley's Art Manufactures exhibited the parian version by Minton at the same time, surmounting a bronze clock flanked by figures of Tragedy and Comedy.
Lot 77
A Copeland parian figure of Lurline by W.K. Schwanthaler,circa 1855, with gilt and tinted borders,impressed mark, 30cm high (a.f)The marble original was executed in 1841 for Prince Schwartzenberg of Vienna and is now at Castle Anif, Salzburg. A bronze version is in the Hofgarden, Munich, and another marble version is at Somerleyton Hall, Suffolk. The work was engraved in the 1855 Art Journal with the following description, 'Lurline, the subject of an old German legend, was a siren of the Rhine, who allured boatmen by her music into the rapids with which that noble river abounds, and thus effects their destruction. She is represented sitting upon the fragments of a boat, indicative of the mischief she has occasioned, and is contemplating a monster fish that she uses as her footstool'.
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