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Click here to subscribeA pair of cut glass mounted, parcel gilt and patinated bronze centrepieces in Restauration style, early 20th century, each with a flared and hobnail moulded bowl set into an engine milled circlet, above three standing and classically draped maidens, the circular bases with foliate cast and applied mounts, each on three paw feet, 41cm high, 25cm diameter
A pair of French gilt bronze figural three light candelabra, late 19th century, the sockets cast as flower heads, on stalks held aloft amongst further flowers and foliage by pairs of standing, nude maidens, festooned with floral garlands, on foliate cast bases, each on four toupie feet, (one sconce detached from each candelabrum), 68cm high
A pair of French patinated bronze models of rearing horses with attendants, loosely in the manner of the Marly Horses, late 19th century, one portrayed as a bare-chested Moor, the other as Greco-Turkish horseman, both on a base cast as rockwork, 58cm high, 49cm long Provenance: Purchased Sotheby's, 7th June 1984, Lot 259
A pair of gilt, repousse worked and cast bronze table lamps, second quarter 19th century and later adapted for electricity, in the Gothic Revival taste, the tapering shafts with three registers of crocketed and quatrefoil moulded arches, on domed bases with further arcading, each on seven stepped feet, 51cm high including later electrical fitments
A pair of lapis lazuli and gilt bronze mounted obelisks by Asprey, modern, of square section and tapering form, each obelisk supported on four tortoises, above square section plinths with stepped bases, 20cm high, 5.5cm square at the bases, with an Asprey card box The choice of the tortoise as a zoomorphic support for an obelisk is possibly a strange one, but in one of the earliest examples of their use, in two obelisks in the Piazza Santa Maria Novella in Florence it has been suggested that their use at least had some symbolism. The obelisks there were set up on the order of Grand Duke Cosimo I de Medici (1519 ~ 74), who in his appreciation of, and attempts to emulate the glory of ancient Rome initiated the Palio dei Cocchi in 1563. This chariot race took place in the piazza and required two obelisks as turning posts at each end, so the use of tortoises probably signified the point where the chariots would be at their slowest.
Ω Johann Philipp Ferdinand Preiss (German, 1882-1943), a cold painted bronze and ivory figure, designed by Paul Philippe (French, 1870-1930), of a seated violin player, the young woman wearing a green tinted dress, on an integral stepped rectangular base, signed in the maquette Phillippe and RuM for Rosenthal & Maeder , 31cm high (missing violin and bow) Literature: Shayo (Alberto) Ferdinand Preiss, Art Deco Sculptor: The fire and the flame , Suffolk, 2005, p. 49 (centre of the photograph). Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
An Viennese cold painted bronze model of a Moorish carpet salesman, early 20th century, by Bergman, portrayed standing and holding his carpet out to view, the underside stamped AUSTRIA and with a 'B' within an urn maker's stamp, 21cm high, (probably redecorated overall) Provenance: Purchased Bonhams, Sale 10140, lot 80
A Japanese spelter figure of an eagle perched on a tree trunk, together with a further pair of spelter figures, a 20th century Japanese bronze vase, decorated with fruiting vines, on a carved hardwood stand, 26cm tall, and a pair of Japanese lacquer chargers, each decorated with bone and shell eagles, 46cm diameter, together with a graduated set of three orange lacquer trays
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