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Lot 6
A Gilt-Bronze Mounted Chinese Oxblood Glazed Porcelain Vase, the porcelain probably Qing Dynasty (1644-1911), the bronze later, ogee body with flared rim, overall deep red crackle glaze, base with Yongzheng mark, height 18 1/2 in., bronze rim, figural handles and tall waisted foot, overall height 23 3/8 in.
Lot 32
A Chinese Silver Inlaid Bronze Figure of a Buffalo, modeled standing foursquare, its thick arched neck supporting an alert forward facing head, overall stylized loop inlay, height 6 3/4 in., width 9 in., accompanied by ORENDA report number 2011207AFLS. (2 pcs.) Provenance: Ex-Collection Chauncey Lowe, Winter Park, FL.
Lot 93
A Pair of Louis XVI-Style Gilt Bronze and Cut Glass Sweetmeat Stands, late 19th/early 20th c., each with wreath finial, columnar standard with three scalloped edge fan and diamond cut glass tiers, dolphin brackets, incurvate triangular plinth, engine turned feet, height 19 in., diameter 8 3/4 in.
Lot 148
Two Art Deco Silvered-Bronze Polar Bear Table Lamps, c. 1925, by Thomas François Cartier (French, 1879-1943), both with "Fabricator Française" foundry mark, one signed "T. Cartier", modeled as polar bears playing with iceberg-form shades, plinth base, largest height 12 in., width 13 in., depth 6 1/4 in.
Lot 207
A Bronze-Mounted Chinese Famille Verte Decorated Powder Blue Porcelain Covered Jar, probably 19th/20th c., U-form body and domed cover decorated with bird, insect, and floral panels, base with ribboned book mark, bronze foot, rims and finial, height 7 7/8 in. Provenance: Arthur Bennett Kouwenhoven, Savannah, GA.
Lot 237
Follower of Severo da Ravenna (Italian, c. 1465/75-before 1538), "A Pair of Nude Male Figures Supporting Inkwells", probably mid-16th c., bronze statuettes with russet alloys, chestnut patinas, and black lacquers, heights 6 1/2 in., on variegated black marble plinths. Provenance: Collection of a Gentleman, purchased 1968 from Manheim Antique Galleries (in B.H. Latrobe`s Louisiana State Bank Building), corner of Royal and Conti Streets, New Orleans. Note: Severo di Domenico Calzetta, known from the city of his birth and death as Severo da Ravenna, where he was enrolled as a Master in 1496 (though his principal works were executed in Padua, from 1500 to 1511), is an exceptional artist who was particularly celebrated in the writings of the Paduan humanist Pomponio Gaurico—especially in his treatise De Sculptura (1504)—but was subsequently forgotten, and only "rediscovered" in the 20th century. Over the last fifty years Severo has been acknowledged as one of the most inventive and prolific of all Renaissance bronzecasters: something approaching 200 casts, of at least 35 or 40 different small bronze designs, have been recognized as issuing from his shop. Even within such an enormous oeuvre, the present figures may well represent a yet-unidentified model: their closest counterparts are apparently the three similarly sized and posed Male Nudes on the topmost of the six figural registers of a colossal Bronze Candlestick in the Fine Art Museums of San Francisco (61.35), in which trios of similar and larger figures (with upraised arms) support the successive platforms and of which the Female Nudes on the bottom tier are also idiosyncratic variants of Severo`s Cleopatra. The possibility that these remarkably handsome figures may in fact derive from such a source, is reinforced (first) by their highly unusual preservation in the form of an exact pair, probably confirming their derivation from just such a multi-figured utensil; and (second) by the fact that their absolutely standard Severan inkwells—life casts from a real seashell, such as that of the galeodea echinophora of Linnaeus—are here present in the form of aftercasts (implying their replication from other, identical specimens closer to the natural models). These shell-inkwells are each attached to their figures` backs by two early screws: one above their shoulders, and with a second, running diagonally (and most unusually) into the backs of their heads. References: Anthony F. Radcliffe, "Replicas, Copies and Counterfeits of Early Italian Bronzes," Apollo 1986, pp. 184-185, fig. 4 (for the San Francisco Candlestick); Richard E. Stone, "Severo Calzetta da Ravenna and the indirectly cast bronze," Burlington Magazine, vol. 48 (Dec. 2006), pp. 810-819; Dylan Smith, "I bronzi di Severo da Ravenna: un approccio tecnologico per la cronologia," in L`Industria Artistica del Bronzo del Rinascimento, M. Ceriano e V. Avery, eds., Verona, 2008, pp.49-80 (esp. p. 77, note 75, on the Candlestick again). We are particularly grateful to Dr. Charles Avery for calling that artifact to our attention (private communication).
Lot 293
A German Rococo-Style Gilt Bronze-Mounted, Gilt and Polychrome Porcelain Table, late 19th c., blue underglaze mark, probably Carl Thieme, circular top centering inset plaque depicting 18th century courting figures amid conforming plaques, frieze with applied flowers, baluster support on scrolled legs surmounted by putti, height 32 1/2 in., width 31 1/2 in., depth 31 1/2 in.
Lot 297
An Antique Italian Patinated Bronze Figure of "Diana the Huntress", after the antique "Diana of Versailles" now in the Louvre, Paris; the goddess depicted with a quiver of arrows over her shoulder and a leaping stag by her side, inscribed "A. Messina Roma" on rotating circular self-base, all on cylindrical marble base, height 18 1/2 in., width 10 in., depth 6 1/2 in.
Lot 358
An American or English Patinated Bronze and Gilt Lacquered Copper and Brass Sinumbra Lamp, c. 1830-60, retailed by Baldwin Gardiner, New York, labeled, acanthine columnar standard, foliate ring on three griffin supports, molded plinth base, paw feet, cut and etched glass shade, overall height 30 in., together with a glass chimney. Note: Baldwin Gardiner opened his warehouse at 149 Broadway, New York, late 1826/early 1827 selling lamps and other goods. Reference: Art and the Empire City: New York, 1825-1861, ed. Voorsanger, Catherine Hoover & John K. Howat, 2000, p. 361.
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349674 item(s)/page