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Lot 138
A pair of Italian green serpentine marble and gilt bronze mounted brûlés parfum urns in Louis XVI style, circa 1875, the domed lids with pineapple finials, on lozenge pierced waisted collars, each above three horned Bacchic masks supporting foliate and floral festoons and above monopodia with cloven hoof feet, the triform bases with beaded borders and each raised on three toupie feet, 42cm high
Lot 154
A pair of French mahogany and gilt bronze mounted clothes presses, by Francois Linke, in Louis XVI style, late 19th/ early 20th century, each mottled marble top above a pair of drawers and a pair of cupboard doors, opening to a shelved interior, above three further drawers, flanked overall by corner mounts cast with scrolling acanthus and trailing flowers, on outswept cabriole shaped legs terminating in sabots, 162cm high, 130cm wide, 49cm deep For examples of bedroom furniture by Francois Linke that appear positively to match the current lot (be from the same suite) see Christie s, The Collector, 16th November 2017, Lot 526. The overall design, design of the mounts and use of specific bréche d Alep marble tops match the current lot. The suite offered at Christie s included a commode with dressing mirror (lockplate signed CT/LINKE ), a bedstead, a cheval mirror and a bedside cabinet. Another matching suite of bedroom furniture by Linke and containing a chest (or press) matching those currently being offered was offered by Christie s (New York, The Opulent Eye, 18th November 2014, Lot 131) The same suite included a cheval mirror, a bedside table, a lady s dressing table (the lockplates of the chest also stamped CT LINKE ). For closely related examples of bedroom furniture by Francois Linke, see Christopher Payne, 19th century European Furniture, Antique Collectors Club 1985 (second edition), page 51.
Lot 160
A pair of impressive gilt and patinated bronze chenets in Louis XV style, last quarter 19th century, cast as opposing and respectively with a man and a maiden in Chinoiserie taste, seated amongst scrolling foliage rising to floral buds, both chenets also mounted with a cast bird, perched on a pedestal to far right and far left respectively, 44cm high, 45cm wide
Lot 195
A pair of Empire or Restauration gilt bronze four light wall appliques in the manner of examples by Pierre-Philippe Thomire, circa 1815, each with a central raised urn socket above three reeded sockets on foliate cast drip pans, on scrolling foliate cast branches issuing from baskets of fruit held aloft by winged herms; themselves each issuing from an acanthus cast cornucopia, with conforming acanthus cast wall plates, 37cm high, 23.5cm wide, 25.5cm protuberance Pierre-Philippe Thomire (1751 ~ 1843) was the outstanding Parisian bronzeur and gilder of the early nineteenth century. He supplied finely chased mounts to leading Parisien ébénistes for furniture, clocks and the Sèvres porcelain factory, and he was much patronised by Napoleon who made him Ciseleur de l'Empereur. His work represents some of the finest examples of what became known as the Empire style, and examples can be found in the Grand Entrance and Marble Hall at Buckingham Palace, the Getty Museum in Los Angeles and many other collections besides See Christie's New York, Treasures of France, 24 October 2012, lot 177 for a very similar pair of wall sconces. Also at the same rooms, Arts of France, 2nd November 2000, lot 128.
Lot 211
A pair of Restauration or Louis Philippe patinated and gilt bronze five light figural candelabra, circa 1830, each with an acanthus cast urn socket raised above four others on scrolling foliate cast branches, issuing from flower cast bosses held above the heads of standing Cupids, in each case standing on one foot atop a sphere, on foliate cast and reeded baluster plinths, above square acanthus cast bases, 72cm high22.5cm wide
Lot 213
A pair of Regency gilt bronze and marble mounted twin light lustre candelabra, circa 1815, the rocaille foliate cast sockets and drip pans suspending cut glass pendants, on scrolling foliate cast branches rising from behind recumbent hounds, each on a rectangular white marble base, 28cm high, 24cm wide
Lot 219
A pair of patinated and gilt bronze and porphyry mounted figural candlesticks in Louis XVI style, late 18th/ early 19th century, each modelled as a standing infant faun, with foliate and fruit filled baskets held above their heads as the sconces, atop socles cast as tambourines; the square section porphyry plinths with foliate cast gilt bronze bases, 27.5cm high See Christie's South Kensington, Interiors, 30 September 2008, lot 490 for examples identical but for the marble plinths
Lot 22
A French patinated bronze model of the Faun with Clappers, late19th century, cast after the Antique, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed Louvre in the maquette, 59cm high The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since
Lot 267
This jardiniere is probably the work of George Emile Henri Servant (1828-1890). Servant was a French clockmaker who, in 1855 took over his father's workshop and foundry in the Marais district of Paris. He became known for the production of clocks and works of art in the Greek and Egyotian revival styles, but also produced works in other Orientaliste styles. His work was praised for its high quality and he exhibited at many of the international exhibitions taking place in Paris and London, including the 1855 Paris Universal Exhibition and in London in 1862. The jardiniere bears stamped numbers, probably model numbers to the undersides of the bronze feet.
Lot 44
After Andrea del Verrocchio (1435 ~ 1488), a patinated bronze model of the Equestrian statue of Bartolomeo Colleoni, late 19th century, the general portrayed in full armour, his stern face turned to sinister, his horse with left foreleg raised; later mounted onto a rectangular speckled black marble socle, 59cm high overall, 52cm long The renowned Colleoni Monument is a Renaissance sculpture in the Campo Santi Giovanni e Paolo, Venice, and was executed between 1480 and 1488 by Andrea del Verrocchio. Standing 395cm in height exclding the plinth, it portrays the Venetian general, Condottiero Bartolomeo Colleoni who, on his death famously left a substantial part of his will to the Venetian Republic, on the condition that a statue in his remembrance be set up in the Piazza San Marco. However, no portrait statue could be legally erected in Saint Mark's Square, since the law said that no individual could be honoured above the State, so the government avoided the problem by having the statue erected in its current position, but in front of the Scuola of San Marco instead Verrocchio based the sculpture on Donatello's statue of Gattamelata (1453), as well as on the ancient Marcus Aurelius equestrian group in Rome, the Horses of St Mark's in Venice, and the Regisole (an equestrian group of late antiquity and previously in Pavia, -now lost), amongst other influences; but in a distinct and impressive move away from these earlier groups Verocchio solved the technical problem of the requirement for a support beneath the raised leg of the horse, to support the weight of the group above. Donatello, in his monument at Padua, had only partially solved the problem by putting the raised leg on a sphere. Verrocchio's creation though used a combination of weight distribution and stance in the horse to enable the whole group to be supported on just three legs. In achieving this he could bring a sense of movement to the animal that could not be shown previously, and in doing this Verocchio created one of the great sculptural works of the Renaissance
Lot 47
After Jean de Boulogne, known as Giambologna, (1529 ~ 1608), the Rape of the Sabine Women, late 19th century, patinated bronze, inscribed Jean de Bologne in the maquette above the integrally cast rectangular base, 59cm high Later mounted on to a modern painted composition wood pedestal, 73cm high overall Giambologna's original work in marble is held in the Loggia dei Lanzi in Florence. As a subject matter, the rape of the Sabine Women was an incident in Roman mythology, in which the men of Rome committed a mass abduction of young women from the other settlements in the region. It has been a frequent subject for artists, particularly during the Renaissance and post-Renaissance eras The title of the work is often misunderstood -the use of the word rape coming from the conventional translation of the Latin word raptio which was used in ancient accounts of the event. Modern scholars tend to interpret the word rather as «duction' or 'kidnapping'
Lot 53
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, 75cm high; later mounted onto a circular painted wood base, the height overall, 80cm 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
Lot 60
After Jean de Boulogne, known as Giambologna, (1529 ~ 1608), a pair of patinated bronze models of Mercury and Fame, late 19th century, both portrayed nude and supported aloft on the breath of a Nimbus, the former with winged petasus and winged ankles, the latter holding a laurel sprig and a trumpet, the cylindrical marmo nero Belgio pedestals each applied with a relief cast bronze frieze of cavorting amorini, 83 and 86cm high respectively The Mercury is one of the most famous and replicated works of the Renaissance, but was originally intended by Giambologna to be viewed on its own and importantly, from all sides -thoroughly in line with his Mannerist ideals. It was only in the 19th century that casts after the original were offered for sale as pairs, the Mercury more usually being allied with Fortuna, but sometimes with Iris, and more rarely with Fame (Pheme in Greek, Fama to the Romans) as in this case Giambologna's original bronze sculpture of 1580 was first installed at the Villa Medici in Rome, being positioned at the orders of Ferdinando de Medici, atop a fountain which formed a focal point on the formal staircase between the sumptuous gardens and the loggia entrance to the Villa In 1780 the Mercury was moved to the Uffizi Museum, and then finally in 1865, to the Museo Nazionale del Bargello, Florence
Lot 120
A First World War Royal Flying Corps Officer's No.2 Service Visor Cap, with bronze cap badge, leather chin strap, leather sweatband and the maker's label for Alkit Ltd., Cambridge Circus, London WC2 faintly inscribed in ink F.H.WOODS 1918Moth damage, mainly to underside of visor. Celluloid liner is torn. Generally in good condition.
Lot 13
A First World War Bronze Memorial Plaque, to HARRY GILLOTT; a First World War Trio, to 17769 PTE. A. TAYLOR. MANCH.R, comprising 1914-1915 Star, British War Medal and Victory Medal; a First World War Pair, comprising British War Medal and Mercantile Marine War Medal, to LEO PEDUZZI; two George VI Pakistan Independence Medals, respectively to 3835110 SEP SARDAR KHAN 16 PB.R and 2333048 L/NK DIWAN ALI 1 P R, (8)Pakistan medals - Both with slight dings and scratches. Other items all in good condition.
Lot 142
A German Third Reich Marine Gyro Compass by Anschutz & Co., Kiel, the grey-painted circular bronze case with two labels one bearing maker's name, further inscribed, ''S2055 Nr.2590, E Kompasslage'', the other with eagle and swastika over M 6720 25 cm diameter overall Footnote: By repute the vendor believes this to have been salvaged from a German U-boat
Lot 168
An Early Shinto Japanese Katana, the 62cm blade with undulating hamon, signed on each side of the tang and with single mekugi an, two piece copper habaki with crosshatched decoration, the iron tsuba decorated with fan leaf shape panels of foliage and landscapes in gilt, the bronze fuchi with gilt raised decoration of chrysanthemums, the black braid bound same hilt with parcel gilt bronze menuki worked as birds in flight, with black lacquer saya
Lot 173
A Japanese Second World War Shin Gunto Katana, the 63cm hand forged steel blade with some delamination marks, one piece brass habaki with diagonal burring, unsigned tang, bronze tsuba pierced and cast with prunus blossom, the braid bound same hilt with triple chrysanthemum head menuki, the black lacquer saya with leather jungle cover, lacks press stud strap, 104cmBlade has delamination marks and uneven edge where it has been ground. Leather scabbard cover has later lacing and lacks its press stud strap.
Lot 19
A First World War Trio, to CAPT.K.PRETTY, comprising British War Medal, Victory Medal with MiD oak leaves and Territorial Decoration, with ribbon bar and miniatures, in plush-lined and fitted leather case; a First World War French Medaille d'Honneur avec Glaives en Bronze, original case of issue; and other medals and medallions, including St. Bartholomew's Hospital Nurses' Prize, April 1904, to E.H. Elliot; British Red Cross Society War Medal; Second World War Defence Medal, etc.
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350105 item(s)/page