We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 752
1903 Karlsruhe - 1987 Freiburg. Studium an der Karlsruher und Dresdner Kunstakademie bei Hermann Gehri und Karl Albiker. 'Blick aus dem Fenster'. Bronze, braun patiniert. 1973. 48 x 44,5 x 23,5 cm. Weiße Holzsäule: 110 cm. Aufgeführt im Katalog: Städtische Museen Freiburg. Museum für Neue Kunst, 11. Oktober-30.November 2003. S. 43.
Lot 14
Lynn Chadwick R.A. (British, 1914-2003)Two Reclining Figures stamped and numbered 'CHADWICK 72 643S 1/6' (on the back of the male figure)bronze with a black patina and polished faces on a granite base80.1 cm. (31 1/2 in.) long (excluding the base)Conceived in 1974 and cast in 1986Footnotes:ProvenanceSale; Bonhams, London, 29 November 2005, lot 120, where acquired by the family of the present ownersPrivate Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.276, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.284, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.291, cat.no.643STwo Reclining Figures by Lynn Chadwick exudes a relaxed aura, resting partly on their sides with the male and female figures joined at the thighs so that the sculpture is one, substantial unit, heightening their sense of togetherness. There is an intimacy inherent in this piece which is difficult to locate in Chadwick's sculptures from the 1950s and 60s and a sense of privacy that we feel as the passing viewer. The male, positioned behind, lifts his right thigh and hip as if he may be about to envelop his partner in a protective and tender moment. The gentle and naturalistic modelling of the female's torso and breasts recalls Chadwick's slightly earlier Elektra I (1968) but here only the faces are polished to give a sleek and shiny surface. The present work rejects the rougher more primitive finish of his first major figure group, The Watchers (1960). The female contrasts most effectively with the more rigid, angular planes of her partner. He is less rounded and voluminous, and the two exquisitely complement one another. It is likely the couple are simply sunbathing, raising their necks so that their faces, at right angles to their bodies, are fully exposed to the rays of the sun they are apparently worshipping. Two Reclining Figures was made shortly after Chadwick and his wife Éva established their own foundry, at Lypiatt Park, Gloucestershire. With Éva by his side, and looking after the business side of his profession, Chadwick emerged out of a period of debt in the 1960s into one with more financial stability. His international reputation had long been secured, and with the luxury of his own foundry from 1971 the sculptor was able to scrutinize the accuracy and quality of the casting process.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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 65
Sir Eduardo Paolozzi (British, 1924-2005)Head III signed and numbered 'E Paolozzi/1/3' (on the sides of the base)bronze with a dark brown patina17 cm. (6 5/8 in.) highConceived in 1992Footnotes:ProvenanceWith Houldsworth Fine Art , London, 16 February 1993Private Collection, U.K.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 17
Lynn Chadwick R.A. (British, 1914-2003)Miniature Figure III numbered and dated '8/30/C41/1986.' (on the side of the base)bronze with a black patina9 cm. (3 1/2 in.) highConceived in 1986 and cast by Lypiatt Foundry in 1989Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaExhibitedVancouver, Buschlen Mowatt Gallery, Lynn Chadwick, June-July 2000 (another cast, catalogue untraced)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, pp.358-359, cat.no.C41 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, pp.366-367, cat.no.C41 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.366, cat.no.C41 (ill.b&w, another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 16
Lynn Chadwick R.A. (British, 1914-2003)Miniature Figure III signed with initial and numbered 'C/C41S/11/30' (on the underside)bronze with a black patina and a polished face9 cm. (3 1/2 in.) highConceived and cast by Lypiatt Foundry in 1986Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, pp.358, cat.no.C41S Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, pp.366, cat.no.C41S Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.366, cat.no.C41SWe are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 25
Frank Dobson RA (British, 1886-1963)Reclining Nude Figure signed 'Dobson' (on the top of the bronze base); stamped with estate stamp and numbered '1/5' (on the back of the bronze base)bronze with a black patina on a slate base50.8 cm. (20 in.) wide (excluding the slate base)Conceived circa 1928 in terracotta, and cast in bronze in 1997Footnotes:ProvenanceWith Gillian Jason Gallery, London, 19 May 1999, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Fine Art Society, Frank Dobson: Sculptor 1886-1963, 20 June-7 July 2012, cat.no.14 (the terracotta cast)LiteratureNeville Jason, The Sculpture of Frank Dobson, Henry Moore Foundation in association with Lund Humphries, London, 1994, p.135, pl.74 (the plaster cast)Robert Upstone and Neville Jason, Frank Dobson: Sculptor 1886-1963, The Fine Art Society in association with Gillian Jason, London, 2012, p.40, cat.no.14 (col.ill., the terracotta cast)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 40
Dame Elisabeth Frink R.A. (British, 1930-1993)Leonardo's Dog II signed, inscribed and stamped with foundry mark 'Frink A/C' (on the outside of the right rear foot)bronze with a brown patina101.6 cm. (40 in.) highConceived in 1992, an Artist's Cast aside from the edition of 6Footnotes:ProvenanceDame Stephanie Shirley, by whom gifted to Paintings in HospitalsExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.86 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.191 (ill.b&w, another cast)Annette Downing, Elisabeth Frink 1930-1993, Sculptures, Graphic Works, Textiles, exh.cat., Salisbury Festival, 1997, pp.27, 71, cat.no.86 (SC58) (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.188, cat.no.FRC396 (ill.b&w, another cast)'Frink's dogs are an excellent example of the way in which she managed to remain a popular, communicative artist at a time when the visual arts, sculpture in particular, were becoming increasingly esoteric.' (Edward Lucie-Smith).It is true, as Edward Lucie-Smith comments, that Frink's large and imposing Leonardo's Dog II resembles the attractive Hungarian gun-dog breed of Vizslas; although the sculptor maintained they were not based on any one particular breed. The droopy ears, rounded nose and raised eyebrows lend the dog an inquisitiveness and friendliness which is also conveyed in her maquette for the present work. However, the author also notes:'It would have been easy to sentimentalize subject-matter of this type, and transform it into something unbearably kitsch. It says much for Frink's talent, and for her temperament – her attitude towards the natural world – that she was able to avoid this trap. Her avoidance of it is perhaps the more remarkable considering that some dogs she depicted are scarcely out of puppyhood.' (Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.19).As is often the case with Frink's animal sculptures the idea for representing the dog was established early on in her career, during the formative years of the 1950s. In one particular bronze, Blind Beggar and Dog (1957) the animal is used in a protective role, leading its helpless master forward in search of money. The dog's legs have been attenuated in much the same way as her other bronze, Dog from the same year, so that the creature takes on the appearance of something more wild, like a jackal perhaps. Revisiting the subject 35 years later this comforting idea, of protection, had not left Frink; the title of the present work was inspired by the stone dogs which guard and protect the entrance to the Chateau de Cloux near Amboise, Leonardo da Vinci's home when he died in 1519. Again, the dog is there to serve, ever faithful, but in this instance depicted in a far more domesticated fashion, one which is more accessible to the viewer and representative of the animal she is working from.It is difficult to appreciate when looking at a photograph of Leonardo's Dog II just how solid and three-dimensional the sculpture is. There is a 'presence' and weight attached to the work which Lucie-Smith has likened to the monumentality of War Horse for Chatsworth. Only upon walking the complete way around the sculpture can the viewer engage and appreciate the power behind this alert beast. Its vaguely rendered and over-sized paws serve to fix the seated dog to its chosen location, whether indoors or outside, and the lack of modelling to the surface emphasizes the vastness of the dog. Created in the penultimate year of her life, Leonardo's Dog II is a fitting tribute to Frink's love affair with all types of animals over a four decade long career.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 59
Robert Adams (British, 1917-1984)Fissure signed, numbered and dated 'ADAMS/1/6/1973' (underneath)bronze with a dark brown patina, part polished35 cm. (13 3/4 in.) highFootnotes:ProvenanceWith Gimpel Fils, London, where acquired byRyda and Robert H. LeviTheir sale; Christie's, Geneva, 7 July 2016, lot 82, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Robert Adams, 29 May-22 June 1974, cat.no.17 (another cast)New York, Gimpel & Weitzenhoffer Gallery, Robert Adams, 17 September-5 October 1974, cat.no.19 (another cast)LiteratureAlastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.233, cat.no.619 (ill., another cast)This work is recorded as Opus 352.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 18
Lynn Chadwick R.A. (British, 1914-2003)Standing Woman I signed with initial and numbered 'C/4/9/C55S' (on the underside)bronze with a black patina and a polished face29.2 cm. (11 1/2 in.) highConceived in 1987 and cast by Pangolin Editions in 1988Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, AustraliaLiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.364, cat.no.C55S Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.372, cat.no.C55S Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.371, cat.no.C55S We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 39
Dame Elisabeth Frink R.A. (British, 1930-1993)Rolling Over Horse signed 'Frink' (on the rear right leg)bronze with a dark brown patina38.9 cm. (15 1/4 in.) wideConceived in 1976, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceAcquired directly from the artist by the family of the present ownerPrivate Collection, U.K.ExhibitedWashington, D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawing 1950-1990, 1990 (another cast)LiteratureSarah Kent and Bryan Robertson, Elisabeth Frink, Sculpture: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.186-7, cat.no.233 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, The National Museum for Women in the Arts, Washington, D.C, 1990, p.65 (another cast)Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.135, cat.no.FCR262 (ill.b&w, another cast)Dame Elisabeth Frink's sculptures of horses are amongst her most commercial and instantly recognisable motifs with her appreciation of these powerful animals dating back to the earliest work of the 1950s. However, the highest acclaim is reserved for her equine subjects completed between 1969 and 1985, of which Rolling Over Horse (1976) is one. Speaking in reference to this celebrated period, Julian Spalding comments that 'Frink's animals came to feature more and more not as tortured harbingers of terror, but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease...This is Frink at her most relaxed. She knew everything about horses and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head' (Julian Spalding in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Emerging in force during the late 1960s and conceived as both singular entities and with riders, they are largely the result of Frink's time spent in the Camargue region of France, renowned for its semi-wild horses and rugged landscape. Upon returning to England in 1973, shortly before the present work was conceived, the artist continued to explore and develop the horse theme within her work. As with many of the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question rather than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal'. That spirit is clearly demonstrated in the present work, whereby the horse moves with grace, free from human constraint, visible from different angles and positions in a sumptuous brown patina.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 15
Lynn Chadwick R.A. (British, 1914-2003)Cloaked Figure IX signed with initial and numbered 'C 770 1/6' (on the side of the figure's cloak)bronze with a black patina185 cm. (73 in.) highConceived and cast in 1978Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present owner circa 1978, and thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Marlborough Fine Art, Chadwick Recent Sculpture, February-March 1978, cat.no.33 (another cast, ill.); this exhibition travelled to Zurich, Marlborough Galerie AG, April-May 1978Witley Court and Ragley, Jerwood Foundation (this cast, long-term loan, 2001-2011)Wakefield, Yorkshire Sculpture Park (this cast, long-term loan, 2012-2023)LiteratureArt International, Vol. 22/3, March 1978, p.49 (another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.320, cat.no.770, (ill.b&w, another cast)Sarah Chadwick (intro.), (exh.cat.), The Sculptures at Lypiatt Park, London, Blain Southern, 2014, pp.66, 94, cat.no.66 (col.ill., another cast)Michael Bird, Lynn Chadwick, Farnham, 2014, p.155, cat.no.7-3 (col.ill., another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.328, cat.no.770 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.334, cat.no.770 (ill.b&w, another cast)Lynn Chadwick's impressive Cloaked Figure IX encapsulates much of the artist's mature style and illustrates his increasing focus on the use of garments to dress and add dynamism to his figures. First suggested in his 1950s sculptures, in the Teddy Boy and Girl series, he moved to add ever more dramatic clothing as his work matured, leading to the billowing cloaks of the 1970s. Experimenting with the motif of the voluminous, blown cloak, as seen in his Jubilee sculptures, Chadwick created many variations on this, including with the fabric streaming out behind, swept to one side and, in the case of the present work, 'falling from the shoulders in ceremonial amplitude' (Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, Surrey, 2014, p.156).Here, the female figure is shrouded in a long, draping cloak, the positioning of which lends the figure a sense of grandeur, and also of mystery. She seems to be a powerful, all-seeing presence, stately in her pose and inscrutability. As is typical with Chadwick, her female features are indicated only by the suggestion of her breasts and a triangular, block-like head, but she also seems imbued with a gracefulness that is particularly feminine. Her face is, as always, blank, with Chadwick once famously declaring 'no expression is an expression' (Lynn Chadwick: The Couple, exh.cat., Pangolin, London, 2011, p.3). He looked to body language as a more useful device for conveying attitude than facial features, which could be limiting. As ever with Chadwick, his ability to tell us so much with an incredible economy of form is notable.The angularity of Chadwick's style is writ large in this sculpture, and accentuated by the folds of the cloak. Chadwick studied closely the weight and properties of different fabrics and seems to have chosen for the present work one which hangs particularly heavily, with a weight that suggests ceremonial robes. Instead of flowing, curving fabric, we have grooved, geometric lines that accentuate the sharp posture of the shoulders and the strong stance of her legs, which are just visible. The addition of the cloak is also important in that it suggests movement, trailing as she seems to move silently forwards. Although the stance of her body appears apparently to be still, the flowing length of her cloak seems caught in movement, with dynamic ripples indicating her passage through the space. It is as though she walks among us with slow and considered steps, gliding past. As Chadwick explained, 'The important thing in my figures is always the attitude – what the figures are expressing through their actual stance. They talk, as it were, and this is something a lot of people don't understand.' (Lynn Chadwick, quoted in Edward Lucie-Smith, Chadwick, Gloucestershire, 1997, p.31). The mid-1970s brought about a subtle change in his approach to depicting the figure. As Michael Bird has written, ' 'Presences' was how he referred to his new figure sculptures; they were about being, not doing: 'I used to call them Watchers, but no longer. Sometimes they are not watching anything. What they are doing is illustrating a relationship – a physical relationship – between people'. It was through this relationship, not through purely formal or allusive qualities, that he wanted his sculptures to speak: 'If you can get their physical attitudes right you can spell out a message'' (Michael Bird, op. cit., p.147). Although Cloaked Figure IX is a single figure and not depicted, as so often in his work, with a male counterpart, her presence is undoubtedly a powerful one. Created as she is on a monumental scale, standing 185cm high, her full attitude cannot in fact be understood from one fixed viewpoint, but must instead be appreciated by walking around, taking in the full majesty of her flowing robes. Chadwick is thus encouraging the viewer themselves to actively interact with her stately, commanding presence, as though bearing witness to her regal procession, by ironically having us do the walking. Cloaked Figure IX was acquired directly from the artist by the family of the present owner, and has been enjoyed in this private collection for many years. It has also been exhibited publicly, both with the Jerwood Foundation at Witley Court and Ragley, and also most recently among the rolling hills of Yorkshire Sculpture Park. Number one from the edition of six, its appearance on the market is an exciting opportunity to acquire a monumental example of Chadwick's work, which is of museum quality.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.Photography © Jonty Wilde, courtesy of Yorkshire Sculpture Park.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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 19
Reg Butler (1913-1981)Woman in Stays signed with monogram and numbered '7/8' (on the top of the base); inscribed with foundry mark 'Susse Fond. Paris' (to the back of the base) bronze with a brown patina55.2 cm. (20 1/2 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, U.S.AExhibitedLondon, Hanover Gallery, Reg Butler, May-June 1957, cat.no.33 (another cast)LiteratureMargaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Much Hadham and Aldershot, 2006, p.149, cat.no.174, RB151 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 132
Takis (Panayiotis Vassilakis) (Greek, 1925-2019)Signal signe (sur la base)fer peint, objets trouvés, bronze190 x 145 x 32cm (74 13/16 x 57 1/16 x 12 5/8in).Réalisé en 1978.signed (on the base)painted iron, found objects, bronzeFootnotes:Cette œuvre est accompagnée d'un certificat d'authenticité de Center Reserche pour l'Arts et les Sciences.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 155
Mara Karetsos (Greek, born 1944)Sans titre signé 'M. Karetsos' (en bas à gauche)bronze25 x 40 x 12cm (9 13/16 x 15 3/4 x 4 3/4in).signed (lower left)Footnotes:ExpositionNew York, Iolas - Jackson Gallery, Mara Karetsos, 1982.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 156
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Tanagré signé en grec et numéroté '72/90' (sur la base)bronze25cm (9 13/16in).signed in Greek and numbered (on the base)bronzeThis 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 157
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Printemps signé 'GHIKA' (en bas à droite)relief, bronzediamètre 23,3 cm.signed (lower right)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 223
A FRENCH EMPIRE PARCEL-GILT-BRONZE 'ORIENTALIST' MANTEL CLOCK, PARIS, EARLY 19TH CENTURY bell striking movement with outside count wheel and silk suspension, engine turned dial with black Roman numerals, the drum housed within a richly-dressed trotting horse, its rider nonchalently balanced above, his head turned towards us under a plumed headscarf, set on a rectangular base with applied with putti holding aloft branches flanking a socle with two birds, on winged claw feet, with key and pendulum, 41cm highSee a similar model, sold Sotheby’s, London, 30 April 2013, lot 498
Lot 36
AN ITALIAN BRONZE FIGURE OF CUPID, ATTRIBUTED TO THE WORKSHOP OF NICOLO ROCCATAGLIATA (CIRCA 1560-1629), VENICE, CIRCA 1600 the winged putto with a quiver slung against his hip, on a red scagliola cylinder and black marble base, bronze 16.5cm high, 23.5cm overallProvenance: Sotheby's, London, 28 June 1979, lot 163
Lot 39
AFTER GIAMBOLOGNA AND MASSIMILIANO SOLDANI: THE EXECUTIONER a patinated bronze figure, probably French first half 19th century, the Soldani model directly derived from Giambologna’s ‘Mars’ with the probable addition of the severed head of St John the Baptist, holding a falchion in his other hand, set by the feet on a square ebonised wood plinth 9.5cm high, bronze 35.5cm highSee the bronze attributed to Soldani in the National Gallery of Ireland, Dublin, No.8122, based on ‘Mars’ (sometimes titled ‘Gladiator’), one of Giambologna’s most popular models. The primary point of reference for all the later figures is the ‘Dresden Mars’, presented by the artist to the Elector of Saxony, Christian I, now held by the Staatliche Kunstsammlungen Dresden (Inventory No.1765Bl.095Nr.176). Its arrival was recorded in the city’s Kunstkammer archives in 1587: “Brass cast portrait of Mars, sent by Giovanni Bologna to His Grace the Elector.” The strangely splayed fingers of the Giambologna figure’s left hand do suggest a vacancy; Soldani’s answer apparently to fill the space with the dripping head.
Lot 40
AN ITALIAN BRONZE FIGURE, 'SEATED MERCURY', GIORGIO SOMMER FOUNDRY, NAPLES, LATE 19TH CENTURY after the Antique, the rock inscribed to top rear 'Fond. G. Sommer / Napoli', dark patination, 25cm longDiscovered in Herculaneum in 1758 and now thought to be a Roman copy of a 3rd century BC Greek original, the 'Seated Mercury' quickly became famous and continued to be hugely popular.
Lot 41
A BRONZE BUST OF MENELAUS AFTER THE ANTIQUE, PROBABLY FRENCH LATE 19TH CENTURY dark patination, the bearded helmeted head turned to dexter, set on a gilt-bronze waisted socle of square outline, 40cm highDerived from the 'Pasquino' group in the Loggia dei Lanzi, Florence, the elaborate classicising helmet part of an early 19th century restoration by Stefano Ricci (1765-1837), the bust is also sometimes described as the head of Ajax.
Lot 42
AFTER JOHANN HEINRICH VON DANNECKER (1758-1841): ARIADNE ON THE PANTHER a bronze group, probably German or French second quarter 19th century, finely detailed, set on a rectangular plain bronze base mounted on a metal border with pointed flutes to three sides above the marble stand, figure only 34.5 x 31cm, 41 x 37cm overallDannecker began work in 1803 on Ariadne in his home town of Stuttgart, eventually finishing the marble in 1814, having sold it prior to completion in 1810 to the prominent Frankfurt banker Simon von Bethmann. When the group left the town in 1816 to become the centrepiece of Bethmann’s Odeon (the first purpose built museum in Frankfurt), Stuttgart’s citizens apparently accompanied its departure with a chant of mourning: “Traur’, Oh Stuttgart, traur’ im Grame! Traur’ um deine schönste Dame” (Grieve, oh Stuttgart, grieve in sorrow! Grieve for your most beautiful lady”). The model's fame soon became widespread, leading to numerous reproductions in a variety of media. In 1856 the marble was moved further out of town to the ‘Ariadneum’ until severely damaged by fire in 1943. Following painstaking restoration begun in 1977, it may now be seen in the Liebieghaus in Frankfurt.
Lot 43
ATTRIBUTED TO MATTHEW NOBLE (1817-1876): SIR ROBERT PEEL a dark brown patinated bronze figure, English, probably third quarter 19th century, modelled wearing tight trousers, frock coat and a heavy cloak draped off one shoulder, clutching a scroll to his breast in one hand, the other hand outstretched to his side, on square base, 67cm highFollowing the shocking death of Sir Robert Peel (1788-1850) while in office, from a riding accident, there was a great call for statues and busts of the prominent figure. Matthew Noble's marble of Peel for St George's Hall in Liverpool of 1853 appears to be closest in composition to this bronze, Noble also producing a number of busts with a similar tilt to the head, as well as varying full length figures such as those found in Bury, Salford, Tamworth and Parliament Square, London.
Lot 44
AFTER ANTONIN MERCIE (1845-1916): DAVID a French bronze figure, Bardedienne Foundry, Paris, late 19th century, posed sheathing his sword, one foot resting on the head of Goliath, inscribed 'A. MERCIE', the circular base with strapwork border centred by a roundel titled 'דוד' for David in Hebrew, inscribed to rear 'F. BARBEDIENNE, Foundeur' and 'RÉDUCTION MECANIQUE A. COLLAS BREVETÉ' circular stamp, 61cm highModelled in Rome in 1869, Mercié presented the life-size figure at the Paris Salon of 1872, the first Salon held since the tumult of the Paris Commune and the preceding disaster of the Franco-Prussian war. Widely admired for its elegance, the figure was also seen as a symbol of France’s hopes for vengeance on the Prussians. The bronze cast by Thiébaut Frères was acquired by the state, exhibited primarily at the Luxembourg Palace and now at the Musée d’Orsay (RF.186). The Barbedienne foundry produced a number of variously sized reductions, adding a loincloth not found on the original.
Lot 46
˜ ALEXANDRE LEONARD (1821-1877): UN MEHARISTE (ARAB CAMEL CAVALRYMAN) a French chryselephantine Orientalist group, probably Paris, late 19th century, modelled in gilt-bronze as a Bedouin warrior with carved ivory hands and face, holding a spear and mounted on a striding camel, naturalistic base inscribed 'A. LÉONARD', 29.5cm high including red and white marble plinthAlexandre Léonard specialised in animalier subjects, probably influenced by one of his masters, Barye. His works are sometimes misattributed to Agathon Léonard, since both signed similarly. See Pierre Kjellberg, 'Bronzes of the 19th Century', Atglen, 1994, pp.434-5, where another of the same model is illustrated; also see Sotheby's, Paris, 'Regards Sur L'Orient', 19 October 2006, lot 136A.Ivory Registration Reference: QMPB6YU1
Lot 47
SIR ALFRED GILBERT, M.V.O, R.A. (1854-1934): VICTORY a dark patinated bronze figure, English, 1890s, the winged figure balanced on one foot on a globe set on a short turned socle, mounted on a stepped conical green marble base, bronze 16.5cm high, marble 8cm highProvenance: given by Alfred Gilbert to James Howard Ince (1857-1920); thence by family descent.The architect and painter, Howard Ince, designed Gilbert’s combined house / studio at 16 Maida Vale, built in 1893. For Ince’s watercolour of the house from the courtyard, see RIBA No. PB289/14(3).‘Victory’ derives from the figure on the orb in Queen Victoria's hand on Gilbert's monumental Winchester Jubilee Memorial of 1887. Although now best known for 'Eros' (or more correctly Anteros) in Piccadilly Circus, this Victory figure became a sort of emblem for Gilbert. Cast for the artist in a variety of sizes and with varying attributes and bases of a mixture of hardstones and bronze, the figure was often given as a gift by Gilbert to his friends, including John Singer Sargent and Henry Irving; for the latter, see the figure held by the Victoria and Albert Museum, No.1050-1905.
Lot 48
CHARLES ROBINSON SYKES (1875-1950): 'ADAM AND EVE' a bronze group with dark greeny brown patination, English, early 20th century, the pair of embracing nudes standing on a naturalistic mound, titled and signed in the bronze 'ADAM / and EVE', 'CHARLES SYKES', on a green and black mottled marble square stand 9.5cm high, bronze 30cm highProvenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor.The artist John Buckland Wright, principally known for his etchings and engravings, was a friend of Charles Sykes, owning a number of his works. According to Wright's family, these were all given to him directly by Sykes. The sculptor Charles Sykes, best known for his ‘Spirit of Ecstasy’ for Rolls Royce (see following lot), also worked as an illustrator, which apparently is how he got to know Wright.
Lot 49
CHARLES ROBINSON SYKES (1875-1950): 'SPIRIT OF ECSTACY' a bronze large Rolls Royce mascot, English, circa 1915, modelled as Eleanor Velasco Thornton with arms raised behind, her robes billowing like wings, inscribed in the bronze to circular base 'ROLLS ROYCE Ltd. Feb 6 1911 C SYKES', on a mottled red rusticated marble stand10cm high, bronze 17.5cm high excluding large threaded steel pinProvenance: John Buckland Wright (1897–1954), probably a gift from Charles Sykes; thence by direct family descent to the vendor. See previous lot for further details.
Lot 52
KONRAD LANGE (1806-1856): A SET OF SIX BRONZE MEDALS, 1836 from a series of twelve medals by Lange, probably produced in Munich, commemorating the marriage of Otto King of Greece to Duchess Amalia of Oldenburg and heroes of the Greek War of Independance, obverse with titled profile busts of the King and Queen, Otto as Prince of Bavaria, Petros Mavromichalis, Spiridon Trikoupis, Andreas Miaoulis and Ioannis Kapodistrias, each signed below truncation 'Κ. ΛΑΓΓΕ', the reverse with relevant scenes, 4.4cm diameter; together with another bronze medal, Konrad Lange, 1839, probably produced in Munich, commemorating the construction of the Othonian University (later University of Athens), obverse with bust of King Otto, signed under truncation, reverse showing the principal facade of the university, 4.4cm diameter; and a French bronze medal of Charles Nicolas Fabvier, Paris, 1829, the Philhellene shown in profile to sinister, signed under truncation 'FEUVRIER F.', 4cm diameter; each medal set circa 1960 in wood frames with giltwood inner border, 8.9cm square (8)Provenance: Collection of the late Basile Mostras (1904-1967), Greek Ambassador to the United Kingdom, 1953-1956. Thought to have been acquired at Spink and Son during this time.
Lot 7
A GILT-BRONZE AND SEVRES EWER, THE PORCELAIN 1750s, THE GILT BRONZE EARLY 19TH CENTURY the tapered cylindrical body with a cobalt blue ground and two shaped reserves each painted with a pair of exotic birds surrounded by foliate and trellis gilding, interlaced blue Ls mark, the Neo-classical bronze-work of a fluted pedestal on a square base and fluted shoulder rising to the lip with a mask of Bacchus, the bifurcated handle with mask terminal, 21cm high
Lot 10
Assortment of Westminster Mint Ancient Coin Sets, comprising; 'The Ancient Greek Mythology Coin Collection; comprising (5x) assorted Ancient Greek bronze coins; 'Coins of Ancient Rome Collection,' comprising (24x) mixed Roman AE from predominately later empire rulers; all coins encapsulated and presented across two cases of issue; together with, 'Money of the Samurai' 2 coin and 1 banknote set; and, a small selection of Westminster mint stamp covers
Lot 227
'Their Finest Hour' Gold & Silver Medallic Set, comprising 'Supermarine Spitfire' gold commemorative medal (.375, 22mm, 6.4g) and 6 x bronze medals layered in pure silver, issued on behalf of the Royal Air Force Association by Worcestershire Medal Services, encapsulated in display packet; together with a George V threepence 1936 enclosed in a 'Monarch of the Twentieth Century' packet
Lot 232
Winston Churchill Five Iconic Portraits Presentation Set; set of 6x Gibraltar issue coins, 5 of which struck in bronze and 1 gold £10 coin, (.999 gold, 17.96mm, 3.11g); all coins encapsulated and presented in London Mint presentation cover with certificates of authenticity and accompanying information
Lot 421
Mixed Lot of Medals and Medallions, comprising; Edward VII, silver Coronation Medal 1902, (56mm), knock to edge at 11 o’clock otherwise AUNC; in official case of issue, case in good order, King Edward V medallion c.1731, part of a series of 33 medals of the English sovereigns by the Swiss medallist Jean Dassier (1676–1763), some knocks to edges, otherwise fine: Queen Victoria, silver Diamond Jubilee medal 1897, (25mm), GVF; and Edward VII, silver Coronation medal 1902 (31mm), a bronze London, Midland & Scottish Railway General Strike Medal 1926, by E. Gillick (51mm), in original case; a Winston Churchill 80th birthday medallion; 5x Victorian souvenir medallions, a pair of Manchester Grammar School sports medals, a Notts country FA cup medallion, a Royal Life Saving medal, and 12x brass ‘Spade’ guinea type gaming tokens (26 pieces)
Lot 424
9x Royal Mint Commemorative Medals; silver, bronze or base metal issues to include; 900 years of Westminster Abbey 1965 in bronze (no certificate); 25th anniversary of the coronation of The Queen 1978, struck in gold plated silver; College of Arms Quincentenary 1984 in gold plated base metal; 500th anniversary of the birth of King Henry VIII 1991 in bronze; 150th anniversary of Great Western Railway 1985 in copper (no certificate); Spanish Armada 400th anniversary 1988 in bronze; Operation Raleigh 1984 in gilded bronze; 800 years of Mayoralty, City of London 1989 in bronze; and, Queen's Golden Jubilee 2002 in base metal; all medals come in official boxes of issue with certificates unless otherwise mentioned
Lot 46
Selection of Victoria Jubilee Year Coins, comprising 12 coins, all 1887; 2x double florins, 2x, halfcrowns, 2x florins, 2x shillings, 2x sixpences (both wreath type), penny, and halfpenny; the silver all nicely toned and Near Extremely Fine or better, many in GEF; the bronze has some staining o/wise NEF
Loading...-
350105 item(s)/page