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Lot 41
A Pair of French Empire gilt-bronze vases, early 19th century, with applied foliate decoration, on Rouge Griotte marble plinths with paterae on three faces and swans drinking at a fountain to the front face, the Belgian black marble stands on gilt-bronze bun feet, 50cm high, 30cm wide, 30cm deep
Lot 45
A matched set of eight cast metal garden chairs in a rich patinated bronze colour, comprising a pair of 19th century cast iron examples and six later bronze copies, the heart-shaped backs decorated with leafy tendrils, the pierced trellis seats with a band of oak leaves with acorns, on naturalistic front legs with acanthus-decorated knees, 81cm high, 47cm wide, 52cm deep
Lot 64
A pair of bronze reductions of the Borghese and Medici vases , 19th century, each rendered in crisp detail with the figures and foliate ornament finely chased and in high relief, 36cm high Comparative Literature : 'Taste and the Antique', Francis Haskell & Nicholas Penny, publ. Yale University, 1981 This pair of vases is modelled after two of the most famous classical Athenian vases from the second half of the 1st century AD: namely the Borghese Vase and the Medici Vase. In 1807 Napoleon Bonaparte purchased the Borghese Vase from the Borghese family and by 1811 it was on display in the Musée Napoléon, now the Louvre. The so-called Medici Vase appeared in the inventory of the Medici collection in the mid 1500's. It was much celebrated in the second half of the 17th Century, featuring in many prints, including one of the earliest and finest prints by Stefano della Bella, dated 1656, depicting the young Medici heir who was to become Grand Duke Cosimo III, sitting drawing the vase. The Medici vase is now in the Uffizi Gallery. From their rediscovery in the mid 17th century, these classical vases were the most admired of antique marble vases and sometimes ascribed to Phidias (5th century BC), the legendary Greek sculptor. The two vases were often compared and copies of them were arranged as companions. Ironically they are not a pair. The Borghese vase is 1.7m tall and the Medici is 1.52m. The Borghese vase does not bear any handles, has a gadrooned lower half and a cabled motif to the base of the stem and finally an octagonal plinth. The Medici vase by contrast does have handles, acanthus leaf carving to the base and stands on a square plinth. However the subject matter could be seen as an interesting juxtaposition: the Borghese vase depicting frenzied, carousing bacchanalian figures escorting an inebriated Silenus, possibly representing the servants of King Midas capturing the prophet for their king. The Medici vase, by contrast, is believed to show the more sombre martial figures of Ulysses, Agamemnon and Iphigenia. Individually or in pairs these two vases inspired the artists catering for the grand tourists. Versions of the vases can be seen in differing scales and media and are often illustrated in paintings and watercolours from the 18th and 19th centuries.
Lot 7
A bronze and ormolu night clock , early 19th century, the enamel dial signed Bofenschen à Paris with Roman numerals set into a classical vase with lions head handles the reverse with glass projection lens, the main body with ormolu ornamentation supported on a bronze plinth with large ormolu starburst, 51cm high, 22cm wide, 19cm deep This very unusual clock is designed to be used both during the day and at night. The vase contains an oil reserve and wick that can be lit at night which projects the time through an adjustable lens in the reverse. The gilded finial is removed to act as a chimney for the flame. Bofenschen was an expert clock maker and inventor who flourished in Paris between 1780 when he was first recorded and 1813 when he was last recorded operating in the Rue du Temple during which time he worked alongside arguably the greatest of all French horologists Abraham Louis Breguet (1747-1823).
Lot 92
A Regency patinated and gilt-bronze hall lantern, early 19th century , of hexagonal form, the lancet shaped sides with crocketed decoration and foliate finials divided by quatrefoil-pierced spires surmounted by berried finials, the glazed panels with cluster-column apexes above stylised running leaf pattern aprons and acanthus scroll pendants, the glass panels replaced and the interior with a later light fitment , 76cm high, 42cm wide Related lanterns include an almost identical brass example sold, Sotheby s New York, 18 April 2015, lot 143 and an ormolu lantern with tracery ornament to its panels, sold Christie s London, 9 June 2011, lot 2011.
Lot 197
A GOOD & UNUSUAL SIGNED JAPANESE MEIJI PERIOD SHIBAYAMA, SILVER & IVORY MODEL OF A REED-WOVEN BASKET & COVER, the cover and part of the side onlaid with profusions of mother-of-pearl overlapping flowerheads, the thin bamboo-form handle, inner rim and the stand formed from silver-metal, the underside of the cover engraved with a signature on an onlaid oval bronze reserve, 10.3in high to top of handle & 5.9in high to top of cover.
Lot 384
A CHINESE RECTANGULAR BRONZE CENSER & STAND, with a pierced wood cover set with a jade lotus finial, the censer weighing 1.13Kg, the stand weighing 635gm, the base of the censer cast with a seal mark, 7in high overall to top of finial, the censer 5.3in wide including handles & 2.25in high to rim, the stand 4.4in x 3.7in x 1.5in high.
Lot 515
A 19TH CENTURY CHINESE BRONZE TRIPOD CENSER, weighing 1.46Kg, together with a fitted wood stand, the censer cast with double upright loop handles, the base cast with a six-character Xuande mark, the censer itself 6.5in wide including handles & 5.8in diameter at rim, & 4.1in high to rim & 5.1in high to top of handles.
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