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Click here to subscribeTwo Pairs of Oriental Arita Baluster Vases: A pair with stylized foliate flared rims above a cream crackle-glazed ground enriched with polychrome scenes of warring warriors and applied with large assimilated bronze salamanders & bands above a footed base 13¾ ins (35 cms) in height. A pair with four assimilated bronze salamanders and lion handles above the crackle-glazed bulbous body enhanced by intricately painted warriors. 12¾ ins (33.5 cms) in height.
A Fine Louis XV Style Bureau Plat. The serpentine sided rectangular top inset with a tooled leather writing surface framed by a border of diagonally grained rosewood & kingwood bands edged in brass. The frieze fitted with a central drawer on one side and corresponding faux drawer on the other. Standing on square tapering cabriole legs mounted with gilt bronze shell-crested espagnolettes and beading running down to the scrolled sabots. 29½ ins (75 cms) high, the top 51 ins x 29½ ins (130 cms x 75 cms).
A Fine Quality Walnut & Rosewood Marquetry Bonheur de Jour. The raised galleried top above an egg & dart cornice with protuberant corner roundels topped by gilt bronze finials and flanked by curved side shelves. The two cabinet doors having veneered cross grained panels inlaid with wreaths of foliage enclosing the fitted interior of burr wood veneered drawers and turned knobs. The table-top having a cross grained rosewood border meeting bold gilt metal edge, above two short drawers flanked by gilt brass cherub headed legs and terminating on sabots. 53½ ins (136 cms) in height, 45½ ins x 21½ ins (136 cms x 62 cms).
A Pair of Small Parquetry Walnut & Kingwood Corner Cabinets having rouge royale marble tops with canted protuberant corners. The faux-dentil moulded frieze above a single door flanked by canted edges enhanced with gilt bronze mounts. The ebonised shaped apron above short legs with scroll sabots. 36 ins (91 cms) in height, 18½ ins x 10½ ins (47 cms x 27 cms).
Two contemporary Italian patinated bronze figure groups, one of a juggler perched on a naturalistic lobed stem, the oval base incised 'Bronzini ADL', the other with a figure of a mandolin player perched half way on a naturalistic column, this too incised 'Bronzini ADL', both supported on marble bases, 31" and 32"h.
An Early 19th Century Patinated Bronze Gothic Revival Bracket Clock, by Edgcumbe, Bristol, with eight day double fusee movement, striking hours on a bell, with an anchor escapement, convex silvered dial engraved with black Roman numerals and with blue steel hands, the bronze Gothic case in the form of a church frontage standing on scroll feet, 39cms high See illustration *George Edgcumbe founded the business at 15 Old Market Street, Bristol in 1710 and brothers John and Nathaniel Edgcumbe were prolific makers, working between 1825 until 1832
After Joseph Ascoli. A bronze standing figure of a French soldier, inscribed 'Un Poilu' and with plaque below inscribed 'Tahure Octobre 1915', the bearded figure with full pack on his back and holding a rifle on his right side, the naturalistic base with shell case and shells, 40cm high, bears signature Joseph Ascoli.
Edouard Lantern (1848-1917). A bronze relief portrait plaque of R. Phene Spiers, the panel below inscribed 'A record of The Esteem Of His Pupils Colleagues and Friends' with matching plaque of ancient ruins inscribed 'The Greatest Trust Between Man And Man Is The Trust Of Giving Counsel', both plaques contained in an oak frame, each plaque 27 x 20cm, overall dimensions 36 x 52cm.
Martinot a Paris. A bronze ormolu mantel clock, having a thirty-hour fusee watch movement repeating the hours on a bell, with a pierced and engraved silver backcock, the backpate engraved with the maker's name 'Gilles Martinot a Paris', the white enamel dial having black Roman numerals and blued steel 'beetle and poker' hands (minute hand missing), the later bronze ormolu case in the form of a bull standing on a base with the clock set above within a floral setting, height 25cm. * Gilles Martinot was a member of the well known Martinot family of Paris clockmakers and is recorded as working in the mid 17th century. A watch by him is in the British Museum.
SIR EDGAR BERTRAM MACKENNALL K.C.V.O., R.A. STUDY FOR THE BLACKBURN WAR MEMORIAL patinated bronze, on a black marble plinth 27.5cm high Note; Sir Edgar Bertram MacKennall was born in Melbourne, Australia, the son of a Scottish architectural sculptor. He studied first under his father and then at Melbourne School of Art. In 1882 MacKennall arrived in London and entered the Royal Academy Schools, but soon after left for Paris. His first exhibit was at the Royal Academy in 1889-92, and he returned to Australia having won the competition for the decoration of Government House in Victoria in 1893. MacKennall was very much influenced by the French Academic manner and by Rodin's later style. One of his pieces 'Circe', recieved an honourable mention at the Paris Salon.
CLARE SHERIDAN BUST OF A WOMAN bronze, signed in the bronze and dated 1949 42cm high Note; Clare Sheridan was a cousin of Sir Winston Churchill whom she embarrassed by her wild behaviour and belief in free love. She married in 1910 and had three children, one of whom died in 1914. Grief-stricken, she modelled an angel for her child's grave and discovered a talent for sculpture. After the death of her husband in the First World War, she began exhibiting her portrait sculptures, including one of Churchill, created while he painted her. An admirer of communism, she travelled in secret to the Soviet Union in 1920. There she sculpted Lenin and Trotsky, later publishing her diary of the trip. She then went to Mexico and America, where she settled, becoming friends with Charlie Chaplin. Next she turned to journalism, interviewing senior European figures for the American press. Her second trip to Russia, in 1923, proved disillusioning. She took her children to live first in Turkey and then on the edge of the Sahara in Algeria. After the Second World War she became a Roman Catholic. She continued to sculpt and to write her memoirs.
A Chinese black lacquer bowl, probably 18th Century, of square tapering form, the sides inlaid in mother-of-pearl with landscape panels, together with eight Canton enamel hors d'oeuvre dishes painted with flowers, a provincial blue and white vessel and a Japanese Art Deco bronze vase, cast with a sailing boat opposing four lines of text, signed to base.
Victor Szczeblewski - Mousse Siffleur, a late 19th/early 20th Century brown patinated cast bronze figure of a whistling ship's boy, standing with both hands in his pockets, raised on a circular base with cast signature 'V. Szczeblewski', 'Bronze Garanti...' stamp and '6760', height approx 42.5cm.
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