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Click here to subscribeAN AUSTRIAN COLD PAINTED BRONZE by Franz Bergman, cast as an Arab standing wearing a gilt headdress, green cloak over a yellow robe with red striped sash, priming his rifle, a flask slung at his right hip, foundry mark and indistinctly numbered, figure 7 1/4" high (Est. plus 21% premium inc. VAT) (Illustrated)
A FRENCH ART DECO BRONZE FIGURE, cast as a young female nude reclining with her right arm around a recumbent Borzoi at her side, stamped foundry mark, 6 3/4" high, 20" long, on a black marble base and yellow marble plinth, applied with a French brass presentation plaque dated 1931, 9" high overall, 21 1/4" long (Est. plus 21% premium inc. VAT) (Illustrated)
Planter: A monumental and rare carved Travertine marble cisternItalian, 16th/17th centuryon paw feetrestorations127cm high by 259cm long by 120cm deepIn the 15th century Pope Nicholas V began the rebuilding of the Acque Vergine, the ruined Roman aqueduct which had brought clean drinking water to the city from eight miles away. Water features subsequently became an important feature of Italian Renaissance villas and reached an apotheosis at the Villa d’Este (1550-1572), at Tivoli near Rome, which featured a hillside of basins, fountains and jets of water, as well as a fountain which produced music by pouring water into a chamber, forcing air into a series of flute-like pipes. Carved stone cisterns of this scale are extremely rare. The majority of antique carved stone or marble water features brought back from Italy are in the form of 16th-18th century wellheads usually from the Veneto area and carved in Istrian stone. The present example is also unusual in being carved on all four sides and would probably originally have stood in the centre of a palazzo courtyard rather than as a basin for a wall fountain. There are old fixing holes on the rim, suggesting that it would originally have had some sort of wrought iron overthrow with a pulley system for water containers. Travertine stone was more commonly used as an architectural material from Roman times onwards and was used by Gian Lorenzo Bernini to build The Colonnade of St. Peter’s Square in Rome in 1500. Michaelangelo also chose travertine as the material for the external ribs of the dome of St Peter’s Basilica. Travertine derives its name from the former town, known as Tibur in ancient Roman times. The ancient name for the stone was lapis tiburtinus, meaning tibur stone, which was gradually corrupted to travertine. Due to its exceptionally hard nature, it is seldom used as a material for sculpture carved in the round. The sculptor has compensated for this by carving impressive grotesque masks, but in low relief in deference to the difficulty of the material. These are very similar to a bronze fountain mask of King Midas with asses ears at the Villa Cittadella near Lucca, which could be a pointed reference to a rival Italian family such as the Medicis who were bankers.
Garden Furniture: A Coalbrookdale Medallion pattern cast iron seat2nd half 19th centurystamped C.B.Dale Co no. 35 with diamond registration stamps and the medallion monogrammed J.K.170cm wideJK is the monogram of Joseph Kershaw, who was the principal designer at the Coalbrookdale foundry during this period. In J B Waring’s ‘Masterpieces of Industrial Art and Sculptor at the International Exhibition 1862’ volume II, under section devoted to the Coalbrookdale Company, he writes ‘Mr Kershaw is another artist who finds employment for his abilities in assisting the firm, to which he is principle designer: the bronze fountain, containing a statue of Temperentia, enclosed in a well designed alcove of natural branches and foliage afforded a very satisfactory idea of his powers’ (plate 140) Coalbrookdale also exhibited a Medallion pattern seat at the same exhibition in the Iron Steel and Brass Work section, which is illustrated in the Art Journal Catalogue, page 82This design, number 149934, was registered and patented at the Public Records Office by Coalbrookdale on 13th March 1862, and is seat no. 35 in their 1875 Coalbrookdale Castings Catalogue, Section III page 259 (see engraving)
Garden Sculpture: After Sir Edwin Landseer: A pair of monumental bronze lions 175cm high by 384cm longSir Edwin Henry Landseer RA 1802 -1873, was an English painter and sculptor, well known for his paintings of animals-particularly horses, dogs and stags. However, his best known works are the lion sculptures in Trafalgar Square.Landseer’s life was entwined with the Royal Academy. At the age of just 13, in 1815, he exhibited works there. He was elected an Associate at the age of 24, and an Academician five years later in 1831. He was knighted in 1850, and although elected President in 1866 he declined the invitation.In 1858 the government commissioned Landseer to make four bronze lions for the base of Nelson’s Column in Trafalgar Square, following the rejection of a set in stone by Thomas Milnes. The lions were made at the Kensington studio of Carlo Marochetti, who also cast them. Work was slowed by Landseer’s ill health, and his fractious relationship with Marochetti. The sculptures were installed in 1867 and have subsequently become one of the most popular and iconic sculptures in the country. Provenance: Recently removed from the world famous Camden Lock Market in London. The lions were originally commissioned in the early 1990’s as part of the redevelopment of the site the by architect John Dickinson. Camden Lock Market is situated by the Regent’s Canal on a site formerly occupied by warehouses and other premises associated with the canal. By the early 1970s the canal trade had ceased and in 1974 a temporary market was established. It is now the fourth-most popular visitor attraction in London, attracting approximately 100,000 people each weekend. Camden Lock Market is now undergoing a major redevelopment resulting in a number of sculptures and furniture from it being sold through Summers Place Auctions, with this monumental pair of lions being the most impressive.
A fine and rare William and Mary double-horizontal bronze sundial by Henry Wynnesigned Henricus Wynne Londini Fecit, Richard Earle of Lauderdale, and monogrammed with his initial R E L and his wife’s A C L , the gnomon engraved both sides with the Lauderdale coat of arms the octagonal dial 43cm wide by 32cm highThe double-horizontal sundial, as the name implies, is a dual instrument, its principal features comprising a ‘double’ gnomon and complementary hour-scales on the dial plate. The primary instrument is the fiducial edge of the inclined or sloping part of the gnomon, which, when the sundial is correctly set, lies parallel to the earth’s polar-axis and aligned in the north/south plane of the meridian and the shadow of which indicates the time against the outer hour-scale on the dial plate, in hours and minutes. The secondary instrument is the sharp vertical edge of the triangular-shaped support to the gnomon, which lies in the axis of the observer’s zenith, and the shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hour-line on a planispheric projection of the celestial sphere, corresponding to the time indicated on the main dial. This observation provides various astronomical data, including the sign of the zodiac in which the sun is situated, the times of sunrise and sunset, the length of the day in terms of the number of hours in the day from sunrise to sunset, the altitude and azimuth (direction) of the sun, together with the means to determine the time when certain ‘fixed’ stars would transit the meridian.The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hours and minutes. The planispheric projection is also engraved with an inner and outer hour-scale, to facilitate its use, being graduated with hour-angle divisions (meridians) and parallels of declination to the limits of 23½ degrees north or south of the celestial equator or equinoctial line. Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hour-scale of the planispheric projection), by which the time may be deduced from an observation of the moon and two sets of altitude scales, for use with a pair of compasses or dividers. Two calendrical tables are also engraved either side of the gnomon. Unusually no latitude or longitude is engraved on the dial which is in remarkably good condition with all of the engraving very crisp. The lack of verdigris would suggest that it has spent little time outdoors.The double-horizontal sundial was the invention of the mathematician William Oughtred (1575-1660). This instrument was produced for him by his friend Elias Allen, who flourished circa 1606-1654, the most notable mathematical instrument maker of his day. His apprentice and successor was Ralph Greatorex (1625-1712), who was also a personal friend of Oughtred. One of Greatorex’s apprentices was Henry Wynne (fl. 1654-1709), who, in turn, became well-known for the excellence of his instruments. Wynne was a member of, and in 1690, Master of the Clockmaker’s Company. He produced the finest and largest (36-inch diameter) double-horizontal sundials, known in this country, which in themselves are comparatively rare, since their construction requires a high degree of mathematical knowledge and considerable skill in the accurate engraving of the planispheric projection. One of his dials was set up on the terrace at Windsor Castle in the Reign of Charles II and others are known in England and Scotland. A similar double horizontal dial by Henry Wynne on a Portland stone pedestal was sold at Summers Place Auctions, 21st October 2014, lot 12.Richard Maitland, 4th Earl of Lauderdale 1653-1695, was the eldest son of Charles Maitland, 3rd Earl of Lauderdale and his spouse Elizabeth Lauder. He served as joint General of the Mint and Lord Justice Clerk. In 1678, he married Anne daughter of Archibald Campbell, 9th Earl of Argyll, whose initials are also engraved on the dial. He was present at the Battle of the Boyne on the side of King James, 1 July 1690, after which he retired to Limerick and subsequently went to the exiled Court of James II at Saint-Germain-en-Laye. The following year he succeeded to the Earldom of Lauderdale, but was outlawed by the Court of Justiciary on 23 July 1694 before dying the following year, thus dating this sundial to between 1691 and 1695.
Garden Sculpture: ▲ Guy PortelliSwallows IIIBronze on ebonised wood baseSigned G Portelli ‘03 10/1054cm highGuy Portelli (born 13 June 1957) is a contemporary British sculptor. His work is found in public and corporate collections in Britain and the USA. Ringo Starr possesses several of his pieces.Portelli is a Fellow of the Royal Society of British Sculptors and Vice-President of the Royal Society of British Artists.In 2002, he won the Elisabeth Frink School Award, and the Scott Goodman Harris Award in 2003. In 2008, Portelli gained £80,000 from three investors of the TV programme Dragons’ Den, convincing them that modern art is a viable and realistic investment. This centred upon his “Pop Icons” collection, 18 pieces exhibited at the Mall Galleries in London.
Garden Sculpture: ▲ David Williams EllisSunriseBronzeMonogrammed, dated 2014 and numbered 4/9Approximately 360cms high Born in 1959 David Williams-Ellis is internationally celebrated as one of the world’s leading figurative sculptors whose commissions have brought him international acclaim. David works primarily in clay before casting in bronze, silver or glass.He has exhibited around the world as well as working on both public and private commissions. Some notable public commissions include Sir Kyffin Williams, Lawrence of Arabia, and two over life-size salmon for the Eden Rivers Trust.David has most recently been commissioned to create the “D-Day Sculpture” for the Normandy Memorial to be unveiled in France on 6th June 2019 to coincide with the 75th anniversary of D-Day.
Garden Sculpture: ▲ Andrew SinclairAphroditeBronze resin in iron frameSigned Sinclair 2002 and with monogrammed artist roundel255cm high by 92cm wide by 69cm deepBorn in 1961, Andrew Sinclair studied Fine art at the Bournemouth and Poole College of Art. He has lived in South Africa and worked in Europe and is influenced by the great classical sculptors of the renaissance. This piece would appear to be a modern female interpretation of Leonardo da Vinci’s drawing of Vitruvian man executed in 1490. He lists the Earl and Countess of Leicester, Oldham City Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio Logothetis of Lomar Shipping, Royal Ascot racecourse and Royal Caribbean amongst his clients. Sinclair has work in private and corporate collections in the UK, USA, Norway, Greece, Holland and South Africa. He has exhibited in London and the Home Counties.
Garden Sculpture: ▲ Ian Rank BroadleyA resin group of two wrestlers on staddlestone basesSigned I Rank Broadly FRBS and with artist’s monogramThe group 213cm high, overall height 280cmBorn in Walton-on-Thames, Surrey, Rank-Broadley was educated at Epsom School of Art (1970-74) tutored by Bruce McLean, and Slade School of Fine Art (1974-76) with Reg Butler as his Director of Studies. In 1997 he won the Royal Mint competition for a new effigy of Elizabeth II to appear on the obverse of circulated British and some Commonwealth coinage from 1998 onward and has subsequently designed a number of other coins for the Royal Mint. His works are in the permanent collections of the British Museum, London’s National Portrait Gallery, the Ashmolean Museum, Fitzwilliam Museum Cambridge, St Paul’s Cathedral, the Rijksmuseum, and several others.In 2007, he sculpted a number of over life size bronze figures for the Armed Forces Memorial at the National Memorial Arboretum for which he received the Marsh Award for Public Sculpture in 2008.In 2010 he executed a memorial to Dean Colet founder of St Paul’s School, London; which can be seen in St Paul’s Cathedral.Other major works are St Matthew at St Matthew’s Northampton, H M Queen in Garter robes at the Supreme Court, Charles James Fox at Chertsey, The Royal Anglian Regimental Memorial, Imperial War Museum, Duxford.
Garden Sculpture: ▲ Mark CorethPlaying LeopardsBronzeSigned M. Coreth A/COn limestone base250cm high overallBorn in 1958 in London, Mark lived on the family farm in Kenya until 1971 when he returned to the UK to attend Ampleforth College. In 1986, he was commissioned to sculpt and cast in silver ‘Belisarius’, the Blues and Royals’ drum horse, for the Warrant Officer’s Mess. A second cast, in bronze, was the Household Cavalry’s wedding gift to The Duke and Duchess of York. In 1993 he became a full-time sculptor.His specially commissioned work includes a pair of lifesize Cheetah in a bronze tree for the ruling family of Dubai, a large figure for the re-launch of Shakespeare’s Globe Theatre, and the monumental Millenium sculpture “The Waterhole” at The Natural History Museum which incorporates over 50 animals. His work may also be found in the following collections; HRH The Queen, HRH The Sultan of Brunei, The Earl and Countess of Halifax, The Marquess of Hartington, Sir Anthony Bamford, Sir Christopher Lever and Lady Fairfax.
A carved Portland stone sundial1st half 19th centurywith 10in bronze dial and inscribed Rubergall, Coventry Street, London135cm high overallThomas Rubergall is recorded as working at 27 Coventry St., Haymarket London from 1805-22 in 21 Coventry Street in 1839 and in 24 Coventry St., from 1840-51.
Garden Sculpture: ▲ Dylan Lewis, (born 1964)Trans figure IILife SizeSigned and numbered ‘Dylan Lewis S251 3/8’ and with foundry stamp on legBronze114cm high by 117cm wide by 70cm deepDylan Lewis is a South African artist who has emerged as one of the foremost figures in contemporary sculpture. Lewis’s work features in private collections throughout the UK, Continental Europe, United States and Australia.
Natural History: A collection of three flint hand axesNeolithicon bronze standsthe largest 20cm overallThe following lots of prehistoric stone tools are made from chert with its distinctive reddish brown colouring. They are collected in the “tenere” area of the Sahara a vast tract of land between Niger, Mali and Algeria.This very attractive rouge colour is typical of tools from Mali and Niger, in the area where the two states meet Algeria. They are found in open sites, where the weathering has made the habitations rise to the surface of the desert.
A scarce Third Reich Police Officer’s sword, 25” blade marked “Krebs Solingen”, steel hilt, blackened wood grip with bronze inset eagle and swastika, complete with its scabbard and under tunic hanger and brace set. GC (very slight wear to scabbard finish and slight stains to blade). Plate 10
Pair: BWM (991 Pte B. Waters, Kent Cyc Bn ) VF (edge rubbed), I.G.S 1908, 1 clasp Afghanistan NWF 1919 (L-13848 Pte B Waters R.W. Kent R), VF (naming part scored); Victory (2103 Pte R Fergusson Kent Cyc Bn) NVF. Pair: TFEM Ed VII issue (211 H. Munn 4/Rl W.Kent R) NVF, I.S.M Geo V issue (Henry Munn) NEF, in case. Met Police bronze Jubilee 1887 medal (Inspr. P. Manning M. Divn) VF (6)
WWI Medals: Belgium: Yser medal, War Medal 1914-18, Croix de Guerre 1914-18; France: commemorative medal for the Great War, Croix de Guerre 1914-18 with bronze star emblem to riband; Italy: Victory medal 1914-18; Portuguese Victory medal. Germany WWI Iron Cross 2nd Class 1914. Average NVF-VF (8)
A 6 shot .32” National Arms Co front loading teat fire SA revolver, 7” overall, barrel 3¼” marked “National Arms Co. Brooklyn, N.Y.”, the cylinder marked “D Williamsons’ Patent June 5-May 17.1864”, with engraved bronze frame retaining vestiges of silver plating and with no ejector, sheath trigger, and plain wood grips. GWO & C Plate 14
Britain: Proof set of coins 1950, halfcrown to farthing (9 coins), Unc in original card case (card edges worn). Crowns (6): 1889 F, 1893 LVI F, 1937 (2) VF, 1951 Unc in card case, 1965 NEF. Victoria AE Jubilee medallion in bronze 1837-1897, NEF in original titled case and 11 sundry other coins inc. 7 WWII German issue. F
LARGE BRONZE TRIPOD CENSER AND COVER, KOROMEIJI PERIOD the body cast in high relief with a band of ducks and koi fish, reserved on an archaistic leiwen and stylised dragon ground, the cover in the form of a mythical dragon emerging from auspicious lingzhi clouds, flanked by two chilong handles42cm highProvenance:Private Edinburgh collection.
BRONZE OKIMONO OF AN ELEPHANT AND TWO TIGERSSIGNED SEIYA, MEIJI PERIOD the elephant modelled fending off two snarling tigers, stamping one tiger underfoot at the front whilst another attacks from behind, clambering over his back, signed within a rectangular reserve to the belly of the elephant20cm longProvenance:Private Scottish collection.
PAIR OF BRONZE PRICKET STICKSMEIJI PERIOD the slender standard with two knops reticulated with spirals and floral scrolls, supporting the waxpan and candle nozzle, raised on tripod feet reticulated with spirals and flowerheads (2)59cm highProvenance:From the collection of the late Hugh Malcolm (1886-1961).
***Please note this is not a collection of kozuka mounted as fruit knives, but fruit knives with kozuka-form handles; five of the handles are of white metalCOLLECTION OF ELEVEN KOZUKA MOUNTED AS FRUIT KNIVES MEIJI PERIOD five of the kozuka of silver, the remaining of bronze, each decorated in mid-relief with figures in a landscape 20.5cm long overall Provenance: Private Glasgow collection. Note: The kozuka is a decorative handle fitting for the kogatana, they are located in the side pocket of many saya or on the scabbard of traditional Japanese swords.
MASSIVE BRONZE WINE POTof compressed globular form with a wide lobed collar to the mid-section, cast with a series of small animals including elephants and rams standing atop the scaly bodies of two addorsed dragons, the handle flanked by two human figures in dancing posture54cm wideProvenance:Private Scottish collection.
CLOISONNÉ ENAMEL AND BRONZE INCENSE BURNERQING DYNASTY, 18TH/19TH CENTURY sturdily cast in the form of an official seated atop a recumbent donkey, the face with a sombre expression, the hands holding the reins, the sleeve of the right arm pierced through with aperture40cm wideProvenance:Private Edinburgh collection.
CHAMPLEVÉ ENAMEL AND BRONZE MODEL OF A LUOHANQING DYNASTY, 18TH/19TH CENTURY modelled seated wearing long robes decorated in low relief on a turquoise enamel ground with a dragon and a phoenix amongst lotus sprays, wooden stand17cm high (excluding stand)Provenance:Contents of a Scottish Country House, for more information, please see lot 1.
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