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Lot 3604
Pendule "Haas à Berne" mit Viertelstunden-CarillonBern, um 1740. Auf der Werkplatine signiert "Haas à Berne" (Johann Ulrich Haas, tätig in Bern 1726 bis um 1750). "Réligieuse"-Gehäuse aus ebonisiertem Holz. Die Kanten eingefasst mit gerundeten Messingleisten. Bronzebeschläge mit Reliefornamentik, als Aufsatz die vollplastische Figur eines Trompete blasenden Engels. Bronze-Zifferblatt mit reicher, ziselierter Ornamentik und Emailkartuschen mit römischen Zahlen. Gebläute Stahlzeiger. Unterhalb des Zifferblatts reich verziertes und vergoldetes Messinggitter. Messingwerk mit Spindelhemmung, Pendel mit Fadenaufhängung. Seltener Viertelstundenschlag mit kleinem Carillon auf sechs Glocken aus Silberbronze. Der Stundenschlag auf separate Glocke. Gangfähig. Schlüssel vorhanden. Dabei passender Wandsockel aus ebonisiertem Holz mit Bronzebeschlägen. H 76 cm, mit Sockel 102 cm.- Minimale Altersspuren.
Lot 3605
PenduleFrankreich, Mitte 18.Jh. Holzgehäuse mit Sockel und Aufsatz. Goldbraun gefasst und mit Blumen und Vogelmotiv polychrom bemalt. Reich verzierte Beschläge in Rocaillenform aus ziselierter und vergoldeter Bronze. 13-teiliges Email-Zifferblatt mit römischen Stunden- und arabischen Minutenzahlen. Fein ausgesägte und vergoldete Zeiger. Messingwerk mit Spindelhemmung. Pendel mit Fadenaufhängung. Halbstundenschlag auf Glocke. Gangfähig. Schlüssel vorhanden. H 103 cm.- Leichte Altersspuren. Zu revidieren, Schlagwerk zu reparieren.
Lot 3606
Sägeuhr "Luigi Moschini"Florenz, um 1780, auf dem Zifferblatt signiert "Luigi Moschini" (tätig in Florenz in der 2. Hälfte des 18.Jh.). Seltene Sägeuhr mit Schwerkraftantrieb durch das eigene Gewicht indem der Uhrkörper an einer Zahnstange abwärts läuft. Mit verschiedenen Hölzern und Zierfilets furniertes Wandbrett. Rundes Uhrengehäuse mit reich verzierter Front aus ziselierter und feuervergoldeter Bronze. Weisses, signiertes Zifferblatt mit römischen Stunden- und arabischen Minutenzahlen. Fein ausgesägte und feuervergoldete Zeiger. Messing-Zahnstange. Werk mit kurzem Hinterpendel. Laufdauer ca. 2 Tage. Gangfähig. H 88 cm.- Minimale Altersspuren.
Lot 3607
Reiseuhr "Meuron & Comp.", Neuenburg, um 1800Gehäuse aus ziselierter, feuervergoldeter Bronze mit floraler Reliefornamentik, Schlangengriff und Tatzenfüssen. Weisses, signiertes Email-Zifferblatt mit arabischen Zahlen. Gebläute Stahlzeiger und Wecker-Stellzeiger. Feines Messingwerk mit Unruhe und Spindelhemmung. Viertelstundenschlag auf zwei Glocken, im Stand Einstellriegel für Grande Sonnerie, Petite Sonnerie und Silence. Zugrepetition. Wecker mit Schnuraufzug und Schlag auf Glocke. Gangfähig. Schlüssel vorhanden. H 23 cm.- Leichte Altersspuren, Vergoldung partiell leicht berieben, das Zifferblatt minimal bestossen.
Lot 3610
Reiseuhr, Neuenburg, um 1800Gehäuse aus ziselierter und feuervergoldeter Bronze auf Scheibenfüsschen. Florale Reliefornamentik und Schlangen-Traggriff. Weisses Email-Zifferblatt mit arabischen Zahlen. Vergoldete Zeiger und Wecker-Stellzeiger aus gebläutem Stahl. Feines Messingwerk mit Unruhe und Spindelhemmung. Viertelsundenschlag mit Grande Sonnerie auf zwei Glocken aus Silberbronze. Oben am Gehäuse Schieber zur Einstellung Grande Sonnerie/Silence. Wecker mit Schnuraufzug und Schlag auf Glocke. Gangfähig. Schlüssel vorhanden. H 22 cm.- Leichte Altersspuren, Vergoldung partiell leicht berieben. Wecker zu richten.
Lot 3611
KaminuhrFrankreich, um 1800. Abgetreppter Sockel aus schwarzem Marmor und bogenförmige Halterung aus ziselierter und feuervergoldeter Bronze. Weisses Email-Zifferblatt mit römischen Stunden- und arabischen Minutenzahlen. Zifferblatt-Einfassung aus vergoldeter Bronze mit feiner Floralornamentik und bekrönender Muschel. Fein ausgesägte und vergoldete Zeiger. Offenes Pendulenwerk mit Halbstundenschlag auf Glocke. Pendel mit Fadenaufhängung und sonnenförmiger Linse aus feuervergoldeter Bronze. Gangfähig. Schlüssel vorhanden. H 42,5 cm.- Minimale Altersspuren.
Lot 3612
Reiseuhr "C.P. Hancock", London, um 1860 Hersteller wohl Thomas Cole für C.P. Hancock, London. Passig geschweiftes Gehäuse aus mit floralen Motiven feinst gravierter, feuervergoldeter Bronze. Aufklappbarer Deckel mit Geheimverschluss und Traggriff, innen feuervergoldet und ornamental graviert. Unter Glas Einlagen aus Lapislazuli und fein graviertem Silber. Rechteckige Füsschen. Die Seitenflächen verglast, frontal floral graviertes, signiertes Silberzifferblatt mit römischen Zahlen und feinen, gebläuten Stahlzeigern. Rückseitig 30-Tage-Mondphase aus fein graviertem Silber und blauem Email. Die Seitenflächen mit Thermometer mit Anzeige in Fahrenheit und Celsius sowie Kalender mit Anzeige von Datum und Wochentag. Handaufzugwerk mit Unruhe und Stundenschlag auf Tonfeder. Gangfähig. H 11 cm, mit Traggriff 14,5 cm. L 15,5 cm. - Alters- und Gebrauchsspuren, ein Füsschen fehlt. Zu revidieren, das Schlagwerk zu richten.
Lot 17
Barthelemy Prieur (Berzieux, 1536-Parigi, 1611) (school of) Narcissus Bronze, redish patina Overall 30x7x8 cm Bronze 20x5x5,5 cm The artwork had long been attributed to Francesco da Sant'Agata, but recent criticism has instead placed it among the works of the great French sculptor Barthelemy Prieur, active at the court of Henry IV. Prieur depicts Narcissus in an upright position with his arms raised to surround his head, thus adopting an alternative iconographic solution to the traditional representation of the youth gazing at the water, clearly inspired by Michelangelo's Prisoners, which the author had the opportunity to admire firsthand. It is a beautiful casting, with a highly detailed and glossy surface, adorned with a splendid translucent patina in reddish tones. Likely dating back to the 17th century, it belongs to the school of Barthelemy Prieur. Bibliography: Voler Khran, Von Allen Seiten Schon, Edition Volker Huber, Offenbach am Main, 1995, cat. 141.
Lot 28
Gianfrancesco Susini (Firenze 1585-1653) (school of) Bagpiper Bronze, bronze patina Overall 21,5x7x7 cm Bronze 15,5x6x4,5 cm The original bronze invention was attributed by Bode to Giambologna, but the Dhanens rejected this idea. According to Avery this sculpture is close to Giambologna's themes, but it could more correctly be ascribed to the workshop of Gianfrancesco Susini. This rare casting is known in three examples, one in the Berlin State Museum, the other in Williams College of Art, Massachusetts, and a third in the Collection of Michael Hall. Following these indications, our casting is also attributed to the school of Gianfrancesco Susini. Bibliography Charles Avery - Michael Hall, Giambologna, Somogy Editions d'arte, 1999, Paris, cat. no. 53. Charles Avery-Anthony Radcliffe, Giambologna Sculptor to the Medici, exhibition catalog (Edinburgh, London and Vienna), 1978-79, cat. no.139.
Lot 33
Francesco Fanelli (Firenze, 1577- Parigi? 1663) (school of) Prancing Horse 17th-18th century Bronze, with golden brown patina on traces of dark brown patina, some verdish patina Overall 30,5x18x8,5 cm Bronze 17,5x18x6,5 cm This sculpture derives from the models of Francesco Fanelli, the Florentine artist who worked in Genoa and later in London, where his works were appreciated by Charles I. Beautiful casting with transparent patina, the horse body is well worked and polished. The snout and mane nervous and well modeled.The bronze base was probably added later, together with the green marble pedestal. It has a similar patina overall.
Lot 55
Inkwell with Satyr Padua school16th-17th century Bronze, dark brown patina 23,5x23x20,5 One garland missing, minor casting defects Central body supported by three crouching lions, laying on a structure with three feet in the form of winged monsters. The lid is surmounted with a seated satyr, turning to the left. The object is decorated with garlands and masks of various kinds.An object of great taste, it has the typical materiality of late Renaissance Paduan castings: thick, bituminous patina that can be found in many of the 15th-16th century objects of this area. Likewise, the masks depicting long-eared satyrs cane inspired by Riccio’s figures.The satyrs of the Candelabro Pasquale of Andrea Briosco, called Riccio (Basilica del Santo in Padua) can be distant prototypes of our satyr.The sculpture is rather crude and has very little cold cast finishing. Some small casting defects have not been removed, making it rather rare and interesting.Recently, an inkwell very similar to ours attributed to the school of Giuseppe de Levis was seen at auction.This inkwell can be attributed to a Veneto foundry, probably 17th century. Reference bibliographyGiovanni Mariacher, Bronzetti Veneti del Rinascimento, Neri Pozza ed., Vicenza, 1993, cat. 54 and 76 (for a satyr with long ears) with relevant pictures.
Lot 75
Tridacna Shell Padua school Probably 17th century Bronze, patina, traces of gilding 6,5x18,5x13,5 cm This rare bronze was made from a direct cast of a real shell.In the Renaissance, castings from life were often made in the Paduan area, following the taste for Nature-Artifice theme. Snakes, lizards, toads and spider crabs were covered with refractory material and placed at high temperatures, leaving a perfect cast of their bodies to be used as a mold for later castings. Small studiolo objects such as inkwells, candlesticks and paperweights often concealed philosophical meanings related to the role of art in emulating nature. This tridacna falls into this category of objects.Shells were often used as ink vessels and in the production of Severo da Ravenna and Gerolamo Campagna they were supported by satyrs in compositions of bronze inkwells. A similar large shell supported by a kneeling man is attributed to Girolamo Campagna (Museo Correr, Venice; Vittoria and Albert Museum, London). Another shell, part of an inkwell, is attributed to the workshop of Severo Calzetta da Ravenna (Castello del Buonconsiglio, Trento).This shell shows no signs of being part of another object (there is no holes or pins). It could be an autonomous work, representing itself and the union of nature and artifice.Bronze tridacne shells are present in works by Francesco Bertos (Venice 1678-1741), such as basins with small putti musicians playing on the edges. BibliographyManfred Leithe-Jasper and Francesca de Grammatica, Bagliori d'Antico Bronzetti al Castello del Buonconsiglio, Publistampa Arti Grafiche, Pergine Valsugana, 2013, pp.74-79.Charles Avery, Bertos The Triunph of Motion, Allemandi, Turin, 2008, pp.256-261.
Lot 48
Barthelemy Prieur (Berzieux, 1536- Parigi 1611) Venus pulling a thorn from her foot Bronze, redish patina, traces of darker patina Fine neoclassical setting in mixed marble and gilded bronze Overall 28,5x10x10 cmBronze 19,7x9x6 cm The bronze is accompanied by the expertise of Dr. Charles Avery.Examination of the metal alloy carried out at the laboratories of the University of Engineering, Milan.The lot is accompanied by a certificate of free circulation indicating the name of the author and the appropriate valuation of € 100,000Known for his role as court sculptor to Henry IV and Marie de Medici, Barthelemy Prieur also travelled to Italy where he worked for the Savoy family. In addition to his monumental sculptures for the French royal family, he also produced enchanting bronze female figures in various poses (washing, drying or combing their hair) destined for a refined studio collection of a vaguely voyeuristic taste.The high quality of the material and the sensual elegance of the small-format castings appear to be in perfect harmony with the need for aesthetic gratification that characterises the collecting of bronzes.Provenance:Baron Hippolyte Boissel de Monville (1794-1873), collector and agent for the Rothschilds.The illustrious provenance is attested by the stamping BM (Baron de Monville) engraved in the trunk. BibliographyAnthony Radcliffe-Nicholas Penny, Renaissance Bronze, 1500-1650, The Robert H. Smith Collection, Philip Wilson Publishers, London, 2004, card 38, pp 220-21
Lot 20
Massimiliano Soldani Benzi (Montevarchi 1656-1740) (school of) 18th-19th century Bronze, redish patina, traces of dark bronze patina Overall 22x8,5x8 cm Bronze 19,5x8,5x7 cm The sculpture reproduces a famous marble from the 1st century AD that was part of the Medici collection (now in the Uffizi Museum in Florence). Soldani Benzi produced bronze copies of classical sculptures from the Medici collection. His sculpture of the satyr after Medici marble was made in almost life-size dimensions for the Liechtenstein princes and, although its attribution has been debated, it is still preserved in the princes' collection in Vaduz. Soldani's foundry also reproduced smaller copies that are now at the center of attribution disputes. The replicas are characterized by the absence of the trunk to which, in the original version, the satyr is leaning, and by a reddish transparent patina typical of the ancient Tuscan productions, the characteristics present also in this lot. Bibliography Die Bronzen der Furstlichen Sammlung Liechtenstein, Lieberghaus-Museum alter Plastik, Frankfurt a.m. 1986, pp. 228-29.
Lot 66
Tiberius Italy Neoclassical Period 18th-19th century Bronze,brown patina, traces of verdish patina 47x38 cm Classic oval medallion depicting profile of Roman emperor Tiberius (42 B.C.-37 A.D.). Certainly part of a cycle of emperors used as a decoration.Large casting with fine patina, Neoclassical period.
Lot 1
Antonio Pandiani Foundry (1838-1828) Venus Marina Inkwell Milan 19th-20th century Bronze, dark brown patina 26x15x15 cm Fine Renaissance-style bronze inkwell. The cup is supported by lion protomes resting on high volute feet. On the lid, decorated with acanthus leaves, Venus Marine resting her left foot on the head of a dolphin which se helds firmly by the tail. A typical example of the historical production popular in the 19th and 20th centuries. Unsigned but identical to some signed exemplaries, the inkwell can certainly be attributed to the Pandiani production. The Pandiani foundry, already active in the 19th century with artists of neoclassical taste such as Giovanni Pandiani (1809-1879), experienced great development under the direction of Antonio Pandiani, who took over its management in 1886. He led it to the success of participating in major international exhibitions and to becoming the bronze workers of the Royal House of Savoy. From that moment on, the Pandiani family produced a significant quantity of bronzes, decorations, and metalware for the Quirinale Palace and other royal palaces. In the second half of the 1920s, the company expanded its activities to the production of eclectic, historical-style furnishings and antiques, proving itself capable of meeting every need related to interior design. Among the most notable collaborators of the company should be mentioned Carlo Bugatti (1867-1940), a famous designer of furniture with an Oriental-inspired taste.
Lot 58
Benedetto Boschetti (Roma, 1820-1879) (attributed to) Augustus of Prima Porta Bronze, dark patina 35x21x14 cm The marble sculpture of Augustus of Prima Porta, now in the Vatican Museums in Rome, was excavated in 1863 from Villa of Livia, Augustus' wife, in the Prima Porta district.Also called Augustus Loricato because of detailed armor (lorica), this sculpture was often translated into bronze during the Grand Tour period.In this edition of the subject, the detailed reproduction of the relief decoration present on the lorica is very fine. Equally meticulous is the rendering of the drapery and the description of the facial features and hands.Although not signed, this statuette certainly comes from one of the best Roman foundries of the 19th century, probably that of Benedetto Boschetti, who specialized in reproducing classical sculptures.In the part below the pedestal are the pin and small handle that allowed the sculpture to be rotated according to daily light. This is also a typical detail of Boschetti's production.
Lot 11
Emilien de Nieuwerkerke (Paris, 1811- Gattaiola, 1892) Equestrian monument of William of Orange Bronze, dark brown patina Signed on the pedestal 38x36,5x18,5 cm Prince William I of Orange (Dillenburg 1533 - Delft 1584) was a prominent figure in the Dutch War of Independence against the Spanish (Eighty Years' War). The sculpture was commissioned by William II of the Netherlands and created by the French sculptor Alfred Émilien O'Hara Comte de Nieuwerkerke in 1845. It was initially exhibited in Paris before being transported by sea to The Hague, where it is still located in front of the Noordeinde Palace. Alfred Émilien O'Hara Comte de Nieuwerkerke, both a sculptor and a figure of high society, held prestigious positions in the government, including the directorship of the Louvre during the Second Empire. He was also a collector, and some of his treasures became part of Sir Richard Wallace's collection. During his travels in Italy, he came into contact with the sculptor Carlo Marochetti, who was working on the equestrian monument dedicated to Emmanuel Philibert of Savoy (completed in 1838), which is still situated in Piazza San Carlo in Turin. The similarities between that equestrian monument and the one presented here are evident. Reduced bronze versions were created from the monumental casting, and this is one of the surviving examples, bearing the artist's signature on the base. It is a fine 19th-century casting. The quality of the armor and the detailed rendering of the horse are noteworthy, exhibiting an extremely realistic and intricate craftsmanship. Drawing inspiration from Renaissance models by Giambologna and his school, de Nieuwerkerke creates a highly impactful and original work, evident even in the bronze reduction presented here.
Lot 14
Two objects commemorating the Pontificate of Pope Benedict XV (1914-1922) a) Francesco Parisi (Napoli, 1874- Roma, 1956) Piccolo busto di papa Benedetto XV Bronze, patina, small marble base Overall 17,5x18x12 cm Bronze 15x17x11 cm Signed on the back: F.Parisi, Roma b) Large commemorative plaque 20th century 32,5x22,5x1,5 cm Bronze, patina Undecipherable signature in lower right corner
Lot 52
Satyr's head shaped lantern Neoclassical period, early 19th century Bronze, natural patina, traces of dark patina 7,5x15x7,5 cm This small lantern repeats archaeological motifs taken up in the Renaissance era, in the wake of the rediscovery of classical antiquity. In 16th century Padua similar oil lamps were produced depicting Moors heads with the mouth wide open. For similar examples see those in the Museo Correr, Venice, or the Bode Museum in Berlin.The one proposed here dates to the early 19th century and Neo-Renaissance Revival. Bibliography Voler Khran, Bronzetti Veneziani, SMB-Dumont, Germany, 2003, p. 79.
Lot 76
Massimiliano Soldani Benzi (1656-1740) (workshop of) Executioner Bronze, redish patina on black patina Ebonized wood base with inclusion of round ruin marble Overall 58,5x16,5x16,5 cm Bronze 37,5x14x14 The original model of this bronze is attributed to Massimiliano Soldani Benzi and is held in the collection of the National Gallery of Ireland in Dublin (No. 8122). It depicts a nude man holding a severed head, most likely that of the John Baptist, in his left hand.It is easy to recognize in this sculpture the well-known figure of Giambologna's Mars, one of the master's most successful inventions. Directly donated by the artist to the Elector of Saxony Christian I, it was documented as early as 1587 in the inventory of the Dresden Kunstkammer.Giambologna's Florentine successors copied and reworked the master's invention. Massimiliano Soldani Benzi added a severed head to the subject of the Mars, producing an original and striking work.Extremely fine finish with splendid transparent reddish patina, typical of early Florentine production of Giambologna’s school.The sword, cast separately, may have been replaced as Soldani’s original carries another type, a scimitar, or it may be a period variant.There is a reported passage at Christie's auction ( December 6, 2016) of the same subject with similar attribution. BibliographyA.Radcliffe, Charles Avery, Giambologna 1529-1608: Sculptor to the Medici, exhibition catalog, Royal Scottish Museum Edinburgh, Victoria and Albert Museum London, Kunsthistorisches Museum Vienna,1978-79, p.100, no.49.
Lot 25
Pair of armigers Padua? Probably 17th-18th century Bronze, dark brown patina Wears Overall 19,5x5,5x4,5 cm Bronze 15,5x6,5x4,5 cm The two armigers recall in their spiral movement the Mars attributed to Gerolamo Campagna or Titian Aspetti. However, they should be considered less ancient castings, probably from the 18th century. Bibliography Sergej Androsov, State Museum of the Issuer, Italian Sculpture from the 14th to the 16th Century, Skira, Geneva-Milan, 2008, pp.150-151, 158-160.
Lot 37
Francesco Fanelli (Firenze, 1577-Parigi?, 1663) (school of) Cupid riding on a dolphin Probably 17th century Bronze, natural brown patina on dark brown coating Overall 14,5x14,5x10 cm Bronze 11x10,5x8,5 cmC upid riding on a dolphin, with a mace in his right hand while with his left hand he holds wide open dolphin’s jaws, which, exhibiting the teeth, resembles a fierce aquatic monster. Splendid transparent brown patina with traces of an artificial dark brown patina.An identical model preserved in the Civic Museums of Padua is attributed to workshop of Niccolò Roccatagliata. This could be an alternative attribution of our bronze even though in the recent scholarship similar bronzes are assigned to the workshop of Fanelli. BibliographyDavide Banzato and Francesca Pellegrini, Musei Civici di Padova, Bronzi e Placchette, Editoriale Programma, Padova, 1989, p.110-111.
Lot 8
Bust of Jean Racine (1639-1699) France 18th-19th century Bronze, dark brown patina with redish highlights on the neck 22x15x12 cm The portrait of the playwright Jean Racine, who, along with Moliere and Pierre Corneille, was one of the greatest French literary figures of the 17th century. The small busts meant to be placed on library shelves or desks were a highly appreciated genre since the 18th century. In particular, busts depicting writers were often produced in series. The portrait of Racine was frequently paired with that of Moliere (1622-1673) to represent the two aspects of theater, the tragic and the comedic. These miniature busts were often derived from the grand courtly busts created by renowned sculptors of the time, such as Houdon, Boizot, or Caffieri. This bust fully belongs to this cultured trend, appealing to intellectuals. It is excellently crafted, featuring highly pronounced plastic work and exhibiting both high-quality material and patina. It should be considered older than more common 19th-century versions, likely dating to the turn of the 18th and 19th centuries.
Lot 1363
A mid 19th Century gilt bronze mantle clock. The clock having two cherubs carrying the clock face The cherubs standing on a white marble base. The 8-day French movement strikes the hours and half hours on a bell. The white enamel dial having Arabic numerals and chased gilt hands. H.28cm x W. 21.5cm. (D)
Lot 293
UNITED KINGDOM. Lot of 8 various metals coins.Coin 1: Edward VII, 1901-10, Halfcrown 1902. Royal Mint. Mintage: 1,331,131. 32.3 mm. 14.138 g. 925/1000 Silver.In secure plastic holder, graded PCGS AU53 , certification number 45921218. PCGS population in this grade: 1.PCGS population in higher grade: 96.Coin 2: Edward VII, 1901-10, Florin 1902. Royal Mint. Mintage: 2,204,698. 28.3 mm. 11.31 g. 925/1000 Silver.In secure plastic holder, graded PCGS MS63 , certification number 45921219. PCGS population in this grade: 24.PCGS population in higher grade: 37.Coin 3: Edward VII, 1901-10, Shilling 1902. Royal Mint. Mintage: 7,905,604. 23.5 mm. 5.6552 g. 925/1000 Silver.In secure plastic holder, graded PCGS MS65 , certification number 45921220. PCGS population in this grade: 14.PCGS population in higher grade: 3.Coin 4: Edward VII, 1901-10, Sixpence 1902. Royal Mint. Mintage: 6,372,501. 19.5 mm. 2.8276 g. 925/1000 Silver.In secure plastic holder, graded PCGS Genuine - UNC Details (92 - Cleaned) , certification number 45921221. PCGS population in this grade: 0, equal-finest graded.Coin 5: Edward VII, 1901-10, Threepence 1902. Royal Mint. Circulating. Mintage: 8,287,060. 16 mm. 1.41 g. 925/1000 Silver.In secure plastic holder, graded PCGS MS66 , certification number 45921222. PCGS population in this grade: 8.PCGS population in higher grade: 5.Coin 6: Edward VII, 1901-10, Penny 1902. Royal Mint. High tide. Mintage: 26,976,768. 31 mm. 9.4 g. Bronze.In secure plastic holder, graded PCGS MS64 RB, certification number 45921223. PCGS population in this grade: 35.PCGS population in higher grade: 15.Coin 7: Edward VII, 1901-10, Halfpenny 1902. Royal Mint. Mintage: 13,672,960. 25.5 mm. 5.7 g. Bronze.In secure plastic holder, graded PCGS MS63 RB, certification number 45921224. PCGS population in this grade: 3.PCGS population in higher grade: 26.Coin 8: Edward VII, 1901-10, Farthing 1902. London Mint. Mintage: 5,125,100. 20 mm. 2.83 g. Bronze.In secure plastic holder, graded PCGS MS65 , certification number 45921225. PCGS population in this grade: 5.PCGS population in higher grade: 1.Total gross weight: 53.27 g. Composition: 578.1/1000 Various Metals.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
Lot 170
AN ITALIAN BRONZE CANDLESTICK, goat head capital above lion base, wrapped tails around the column, 29cm high Together with a bronze oil lamp, after the antique, 16cm across, and a bronze figure of a maiden lying downProvenance: From the estate of Lionel Alfred Martin, Ingram Avenue, London (1855-1933). Chairman of Tate & Lyle.
Lot 202
A PATINATED BRONZE MODEL OF AN EGYPTIAN SPHINX LATE 19TH CENTURY 12cm high, 20cm long, 7.5cm wide Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe sphinx with dark brown patina overall, some areas of pitting and wear consistent with age and handlingThe marble base with chips and knocks to the edges, corners and extremitiesThe beast is fairly firmly attached to the base, the underside is covered in late baize, the screws/bolts seem to rattle slightly and may need tightening (the baize would need to be carefully removed in order to do this)Please see additional images for visual reference to conditionCondition Report Disclaimer
Lot 259
GABRIEL FORESTIER (FRENCH, ACTIVE 1920-1935), AN ART DECO PATINATED BRONZE MODEL OF A GIRL WITH FLOWERS The woman modelled with hair in a pony-tail and a bunch of flowers in each hand down by her side, stood atop a rectangular plinth Inscribed for the maker to one side and with foundry marks to the rear 53cm high overall
Lot 180
A GROUP OF VARIOUS BRONZE AND CARVED STONE MODELS OF ANIMALS Comprising: a Japanese Candlestick monkey group, 18cm high; a model of a rabbit, 10cm high, a spelter bronzed model of a rabbit; an Inuit walrus, 17cm long, and a Indian stone model of bull, 12cm long Condition Report: rabbit lacking earsthe rabbit with some wear to surface the bull with chips to extremities Condition Report Disclaimer
Lot 4078
Matchbox Superfast 2 x 6b Mercedes 350SL - both are white roof, light amber windscreen, bare metal base, 5-arch wheels - (1) metallic dark bronze body - Near Mint with factory paint flaw to hood, in Good creased Type L Box without New; (2) metallic copper body - Good to Good Plus unboxed with cracked/damaged windscreen. (2)
Lot 4079
Matchbox Superfast 6b Mercedes 350SL - RARE METALLIC CANDY APPLE RED BODY (darker & more red tone than the standard dark bronze), white roof, windows have a slight smoke grey tint, pale yellow interior, bare metal base, 5-Arch wheels - Near Mint with tiny pin size chip to leading edge of right hand front wing, in Good Plus Type L Box without New, but with matching model artwork.
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