After Vassili Yacovlevitch Grachev (Russian, 1831-1905) a Russian bronze, `The Farewell Kiss`, dark brown patination, of an armed and mounted Cossack lifting his bare footed sweetheart to kiss her farewell, on an oval naturalistic base signed in Cyrillic, stamped `1871` and with the foundry mark `Fabr. C F. Woerffel, St. Petersbourg`, 7 3/8in. (18.75cm.) long, 8¾in. (22.25cm.) high. * Condition: In good condition, with no damage or losses. Some rubbing to patination on raised detail, as would be expected. Tip of scabbard very slightly bent.
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A gilt patinated bronze figure by Paul Philippe (French, 1870-1930) circa 1920, depicting a female nude, `Awakening`, standing with arms outstretched, on a marble plinth, impressed mark `LX130` beneath foot, the plinth signed `P. Philippe`, 22¾in. (57.75cm.) high. * Condition: Some rubbing and scratching to patination in places, most notably to the top of the body above the breasts, the lower legs and the raised areas of the casting. Top of figure and feet quite dirty and would benefit from cleaning. No damage noted. Some tiny chips to lower edge of plinth.
Alfred Dubucand (French, 1828-1894) a bronze group of an Egyptian boy and his donkey, the barefoot figure standing beside his mule, on a naturally cast base, raised on a moulded oval socle, signed A.E. Dubucand, 8¼. (21cm.) high, 7in. (17.8cm.) long. * Dubucand studied under the famous Animalier sculptor Barye and produced many highly realistic models of animals throughout his career. He made his debut at the Salon of 1867 with a wax model of a dead pheasant and exhibited regularly until 1883, often showing wax models before re-submitting the bronze casts in subsequent years.
After the antique - a pair of bronze twin handled vases early 20th century, dark green-brown patination, each with two foliate and anthemion mounted handles, the tapering body decorated with scenes of centaurs carrying putti amid architectural and wooded landscapes, on a turned socle and circular stiff-leaf moulded base, on a cylindrical marble column and black veined marble plinth, 8¾in. (22.25cm.) high. (2) * Condition: One plinth has a piece detached from one corner, with minor chips missing from along the break. Small chips to two other corners of plinth. Some oxidisation to interior of vase from water. The other vase has a few small chips to corners of base. The vase is detached from the socle due to the threaded pin joining the two parts rusting - needs drilling out and a new pin to be inserted.
* A LARGE LISINSKY BEAR RUSSIAN, AFTER A MODEL BY NIKOLAI LIEBERICH, INSCRIBED WITH A SIGNATURE, C.F. WOERFFEL FOUNDRY, ST PETERSBURG Bronze with dark brown patina, height 56 cm. Small bronze sculptures destined for interiors became fashionablein Russia in the second half of the 19th century. Hunting scenes, already a popular subject in paintings and drawings, not least becauseof Emperor Alexander II?s passion for hunting, were now embracedin sculpture. Alexander II was an avid hunter and from an early age, hunting was an essential part of his leisure activities. At the tender age of 10, Alexander Nikolaevich was already accomplished with a rifle. Upon enthronement, the Tsesarevich?s hobby became the Emperor?s fully-fledged hunting seasons, which began during the Coronation festivities in 1856. The hunting lodge in Lisino, built by Nikolai Benois, was a favourite of Emperor Alexander II and where he stayed on some 86 occasions. Such lodges were decorated with various hunting trophies, depictions of the Imperial hunt and the animal statues, for which Nikolai Lieberich is the most famous. In 1865?1866, Lieberich was invited to partake in the Imperial hunt, which provided a valuable source of observation and inspiration for his work. A bear killed by the Emperor during a hunt in Lisino, became the prototype for this highly popular model, executed in 1866. Whilst Lieberich?s works were highly praised at court in the 19th century, they are still sought after today. For example, a specially commissioned bronze-gilt casket with a hunting scene by the sculptor was sold by Sotheby?s in 2011 for almost £140,000. The present cast, with its sharp and precise elaboration of detail, is an example of Lieberich?s animal sculpture at its best.
* A LARGE LISINSKY BEAR RUSSIAN, AFTER A MODEL BY NIKOLAI LIEBERICH, INSCRIBED WITH A SIGNATURE, C.F. WOERFFEL FOUNDRY, ST PETERSBURG Bronze with dark brown patina, height 56 cm. Small bronze sculptures destined for interiors became fashionablein Russia in the second half of the 19th century. Hunting scenes, already a popular subject in paintings and drawings, not least becauseof Emperor Alexander IIÂ’s passion for hunting, were now embracedin sculpture. Alexander II was an avid hunter and from an early age, hunting was an essential part of his leisure activities. At the tender age of 10, Alexander Nikolaevich was already accomplished with a rifle. Upon enthronement, the TsesarevichÂ’s hobby became the EmperorÂ’s fully-fledged hunting seasons, which began during the Coronation festivities in 1856. The hunting lodge in Lisino, built by Nikolai Benois, was a favourite of Emperor Alexander II and where he stayed on some 86 occasions. Such lodges were decorated with various hunting trophies, depictions of the Imperial hunt and the animal statues, for which Nikolai Lieberich is the most famous. In 1865–1866, Lieberich was invited to partake in the Imperial hunt, which provided a valuable source of observation and inspiration for his work. A bear killed by the Emperor during a hunt in Lisino, became the prototype for this highly popular model, executed in 1866. Whilst LieberichÂ’s works were highly praised at court in the 19th century, they are still sought after today. For example, a specially commissioned bronze-gilt casket with a hunting scene by the sculptor was sold by SothebyÂ’s in 2011 for almost £140,000. The present cast, with its sharp and precise elaboration of detail, is an example of LieberichÂ’s animal sculpture at its best.
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