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Lot 559
A French bronze model of Venus, circa 1800, the nude portrayed standing and looking up to sinister to a garland held in each hand above her, her weight on her right foot with the left resting on a tree stump behind, the rouge marble columnar plinth with engine milled and gilt bronze circlet above a square base, 75cm high. Provenance: Cowdray
Lot 560
A French bronze model of a Classically draped maiden, possibly Clytie, last quarter 19th century, cast after J Pradier, portrayed seated, her head declined over her loosely draped decolletage, her left knee drawn up over her right, a lyre resting behind her against the stool upon which she is seated, signed J. PRADIER, SUSSE, 34.5cm high, 43cm long (lyre detached). Provenance: Cowdray
Lot 562
A pair of unusual gilt metal, bronze and faux hardstone inset centrepieces, of North American interest, early 20th century, both with avine finial above a raised platform adorned with fish and crustacea, and gamebirds and fowl respectively, all arranged naturalistically and modelled as overspilling, with stop fluted and anthemia moulded undersides, on tapering, faceted, foliate cast and ‘bejewelled’ columns with Ionic capitals and maidens’ masks, descending to further tiers of birds and fish, each above a lizard curled around the top of a triform socle with shell, foliate and florally cast mounts to the sides, on silvered circular bases engraved with arabesques and mounted with three figures of native American tribespeople to one and four to the other, all in traditional dress and in naturalistic poses and attitudes, the bases each relief cast three times to the outer edges with the monogram FOP in relief with a crown above the cartouche, one insrcibed to the underside ‘Oiseaux’, the other also indistictly unsigned, 81cm high, 46cm wide. The use of Native American figures within the design of these centrepieces suggest a possible North American or French-Canadian connection. . The late 19th century saw a period of expansion resulting in the settlement of the Canadian West. During this period many North American artists and English Canadian sculptors as well, nostalgically incorporated Indians into thier work. An example of such is Louis-Philippe Hébert who is believed to have learnt his art from Napoleon Bourassa when they collaborated around 1870 on the Notre-Dame-de-Lourdes chapel in Montréal. Hébert was also influenced by the French realist tradition. His works included a number of bronze sculptures of Indians including the famous Pêcheur à la nigogue, which he produced for the legislative building in Québec City; the statue of Maisonneuve at Place d’Armes in Montréal; and his proud monument Madeleine de Verchères, located in the middle of the Québec village of Verchères. Emanuel Otto Hahn, a German sculptor who immigrated to Canada early in his life is noted for his Indian subjects. Alexander Phimister Proctor is also known for his use of Indian subjects although primarily for his use of animals.
Lot 564
A pair of French patinated and gilt bronze mounted models, possibly of Neptune and a Triton, late 19th century, both partially draped, the former standing and resting against rockwork, his outstretched left hand holding a staff, the latter with a conch shell in her raised right hand and also resting against rockwork, both indistinctly signed to the reverse, the latter inscribed 1896, on waisted, circular marble bases, later adapted as table lamps with stems rising behind them to light fitments above, 38cm high overall. Provenance: Berry
Lot 574
A garniture of French ormolu, patinated bronze and glass mounted vase and tazzas, mid 19th century, the central vase of frosted glass with flared rim, decorated with robed figures, the socle and stem with twin swans drinking from bowls on a navette shaped base, 36cm high, the conforming tazzas each lacking glass bowls. Provenance: Cowdray
Lot 576
A pair of Continental gilt bronze and white marble mounted pot pourri urns and covers, mid 19th century, each with berry cluster finial to a domed, foliate cast and openwork cover, the Campana urn bodies with acanthus and anthemion casting and openwork motifs, each with twin zoomorphic handles, on conforming waisted socles, the square section bases with beaded borders, 25cm high, 15.5cm wide. Provenance: Berry
Lot 604
A pair of Louis Philippe gilt and patinated bronze four light candelabra in the Antique taste, circa 1840, the sockets on foliate cast branches above a raised, waisted and knopped socle, with four ram’s heads on tapering plinths, the sides applied with robed figures in relief, on quatreform bases, 62cm high. Provenance: Cowdray
Lot 606
A pair of French patinated and gilt bronze three light candelabra in the 19th century style fitted as table lamps, 20th century, each with three urn sockets around a central stopped urn, on a knopped stem above three adorsed elephant heads, on a reeded shaft above a foliate cast socle and three monopodia, on a triform base, 48.5cm high excluding electrical fitments
Lot 652
A Restauration ormolu and patinated bronze timepiece, probably Palais Royal, circa 1815, the silvered Roman dial inset into a case modelled as a bale, a seated blackamoor smoking a pipe above, one foot resting on a barrel, the base with foliate cast decoration, the movement replaced, 26cm high. Provenance: Cowdray
Lot 654
A Louis Philippe ormolu and patinated bronze cased striking mantel clock, circa 1835, surmounted by a maiden robed in the Classical taste, leaning against a cabinet and reading a book, the cabinet decorated with torcheres, swans and volume spines, the plinth with a central bust in relief flanked by seated amorini and further motifs, the white Roman numeral enamel dial signed for Giteau, Palais Royal No. 140, Paris, the eight-day bell striking movement with silk suspension, 52cm high, 32cm wide. Provenance: Cowdray
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350105 item(s)/page