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Lot 408
A French gilt-bronze eight-light chandelier, In the manner of André-Charles Boulle, by Lacarrière frères & Delatour, Paris, dated 1888, With Bacchic term figures flanking a vase above female masks and friezes depicting bows and quivers, supporting foliate scroll arms, signed Lacarrière frères & Delatour - Paris 1888, approx. 88cm high, 91cm diameterLiterature: Ottomeyer, H. and Pröschel, P., Vergoldete Bronzen, Vol. I, p. 52, fig. 1.6.6.It is the buyer's responsibility to ensure that electrical items are professionally rewired for use. Footnotes: Note: The fonderie Lacarrière was first established in 1825 at 3 bis, rue Ste-Elisabeth, Paris, specialising in gas lighting fixtures. By 1875 the company had transformed to Lacarrière Delatour, et Cie., under which name they cast and chased a chandelier designed by Corboz for the new Opéra, Palais Garnier.
Lot 168
A bronze group of a lion attacking a horse, After the Antique, South German or North Italian, 17th century, On a rough hewn marble plinth, 27cm high overall, 36cm wide, 21cm deepProvenance: Berwind Collection, Newport, Rhode Island, according to vendor records.Footnotes: Note: This model varies slightly from the model by Giambologna, more commonly copied, with the horses' head more violently arched back towards the lion. It is close to the Antique marble, now in the Palazzo dei Conservatori, Rome, which was restored in 1594 by Ruggiero Bescap with the horse's head bowed forward in surrender.
Lot 14
An Italian bronze model of a Faun with the Infant Bacchus, After the Antique, first half 19th century, Depicted standing with Bacchus about his shoulders, formerly with cymbals, now lacking, rectangular base, 46cm high, 19cm wide, 12cm deepFootnotes: Note: This bronze is cast after an Antique group of a Satyr with the Infant Dionysus in the collection of the Museo Archeologico Nazionale in Naples, formerly part of the Farnese Collection which was moved to Naples in 1787. The main figure was probably inspired by the Faun with Clappers also known as the Dancing Faun, now in the Uffizi, Florence. The present lot lacks the 'clappers' or cymbals sometimes seen on this model.
Lot 6
A pair of French gilt-bronze mounted rouge griotte marble ewers, Of Louis XVI style, mid-19th century, Each with shell spout with a winged putto-dolphin, above female masks and fluted neck with beaded swags and rope-twist tassels, the baluster shaped bodies with ram head and grape vine mounts, on socles with upswept acanthus leaves, on canted square base, 34cm high (2)
Lot 170
A French bronze model of Spinario, After the Antique, third quarter 19th century, Shown seated removing a thorn from his foot, foundry inscription F. BARBEDIENNE FOUNDEUR and A. COLLAS BREVETE REDUCTION MECANIQUE cachet, numbered to the underside 19, 23.5cm high, 13cm wide, 18cm deepProvenance: Mary Wise, Grosvenor Antiques, label to underside.Footnotes: Note: The life-size antique bronze of the Spinario, now in the Capitoline Museum, Rome, was extremely highly thought of during the Renaissance. It was one of the first antique models to be copied.
Lot 387
A pair of French gilt-bronze urn table lamps, Of Louis XVI style, late 19th century, Each with fruiting vines suspended from Bacchic mask handles, on a gadrooned body and foliate socle on a stepped circular plinth base with beaded borders, 39cm high excl. fitment (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
Lot 160
A French bronze group of the Laocoön, After the Antique, late 19th century, Depicting the Trojan priest and his two sons being attacked by snakes, on a stepped rectangular base, with cast signature F. BARBEDIENNE. FONDEUR. and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, 45.5cm high, 31.8cm wide, 15.8cm deep Footnotes: Note: This sculpture is a reduced bronze version of the Laocoön, which is one of the most iconic marble statues from Roman antiquity. It depicts a scene in Book II of Virgil’s Aeneid, where the Trojan priest Laocoön and his two sons are attacked by snakes sent by the goddess Minerva after he warned the people of Troy not to bring the Greek’s gift of the wooden horse into the city walls. The original was discovered near the church of Santa Maria Maggiore in Rome on 14 January 1506, and has since been the subjection of extensive artistic reproduction. It is mentioned in Pliny the Elder’s Natural History as a ‘work superior to any painting and any bronze’ - [Natural History 36.37]. It attracted the attention of Renaissance artists including Michelangelo and his contemporaries and it greatly influenced future works. Upon its discovery, Pope Julius purchased the statue and transferred it to the Cortile Belvedere and it is currently on display in the Vatican’s Pio Clementino Museum. This version was produced by the foundry of Ferdinand Barbedienne, 1810-1892, whose workshop in Paris specialised in bronze reductions of famous sculpture from the Antique, Renaissance and Baroque periods. Achille Collas, 1795-1859, was a French engineer and inventor who developed processes to reproduce bronzes at a smaller scale, known as the ‘réduction méchanique’, transforming the bronze industry by enabling the recreation of smaller scale reproductions of famous sculptures.
Lot 424
A group of Oriental items,19th - early 20th century,Comprising: a pair of softwood carvings, 30cm high; a Japanese bronze champlevé enamel figure of Guanyin atop a Buddhist lion; a buffalo and boy carving, 19cm high; a bronze figure of Budai, 21cm high; two cloisonné vases, 19cm and 16cm high; and a domed box (8)
Lot 454
A pair of French gilt-bronze wall brackets, Of Regence style, late 19th century / early 20th century, Each with an associated breakfront shelf, above a pierced backplate centred by a satyr mask surrounded by rockwork and foliage with C-scrolls, 26.5cm high, 21.2cm wide, 11.5cm deep (2)Condition Report: The platforms to each bracket are possibly associated. The gilded with rubbing and rubbed areas overall. The nose of each satyr with small dents. There is a casting fault to the pierced rockwork one bracket beneath the scroll.
Lot 62
After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century, The female figure riding on the shoulders of a satyr while holding a thyrsus aloft, with cast signature CLODION and THIEBAUT FRERES FONDEURS PARIS cachet, on stepped circular variegated marble base, bronze - 38cm high; overall - 43cm high
Lot 23
A pair of French bronze busts of playwrights Racine and Corneille, Late 18th century, the mounts later, On gilt-bronze mounted bleu turquin marble plinths with original plaques RACINE and CORNEILLE respectively, 31.5cm high, 12.5cm wide, 10cm deep (2)Footnotes: Note: Jean Racine (1639-1699) and Pierre Corneille (1606-1684), along with Moliere (1622-1673), are considered to be the three great playwrights of 17th century France.
Lot 457
After Giambologna, Italian, 1529-1608, a bronze figure of the Cesarini Venus, 19th century, With foot raised on a triform pedestal, mounted on a gilt-bronze base, 29cm high, 10cm wide, 10cm deepFootnotes: Note: The present bronze is based on the marble model of Venus drying herself by Giambologna that is also known as the Cesarini Venus. The prototype was commissioned from Giambologna in early 1580 by Giangiorgio II Cesarini, Marquis of Civitanova for the Villa Ludovisi, Rome. The statue still remains in the building to this day, which is now known as the Palazzo Margherita and serves as the American Embassy.
Lot 486
After Jean-Baptiste Pigalle, French, 1714-85, a pair of French bronze figures ‘L’enfant a la cage’ and 'La fillette a l’oiseau’,19th century,Each shown with a child seated with a birdcage and a bird respectively, on gilt-bronze plinths, 27cm high overall, 15cm wide, 17cm deep (2)Provenance: Sotheby’s, 17 April 1964, according the vendor records.
Lot 60
After Pierre-Alexandre Schoenewerk, French, 1820-1885, a French bronze model of a maiden, Late 19th century,The young lady depicted kneeling in diaphanous robes picking flowers, with a basket of flowers to her right on a naturalistic base, with cast signature SCHOENEWERK sculpt and foundry inscription L Marchand ed., 26cm high, 24.5cm wide, 12.7cm deep
Lot 453
After Charles Antoine Coysevox, French, 1640-1720, a French bronze model of Flora et l’Amour,Late 19th century, The Roman goddess of flowers and spring is depicted seated on a tree stump holding a floral swag while Cupid stands behind her holding a wreath, with cast signature A. COYZEVOX. F. 1710, inscribed F. BARBEDIENNE. FONDEUR., and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, the underside inscribed AA / 42, 30cm high
Lot 413
A large Chinese bronze figure of Li Tieguai atop a rocky outcrop, Ming dynasty, 17th century, Cast standing on pierced rockwork supported by a crutch in his right hand, with left hand raised clutching a gourd, 55cm high Footnotes: Note: Li Tieguai is on of the eight Daoist Immortals and is identified by the iron crutch and double gourd he is usually depicted with. He is typically depicted as an emaciated man who walks with the assistance of his crutch as he is descended from the realm of the immortals by entering the body of a handicapped man. He is said to be a provider of medicine, which he carries in his gourd.
Lot 372
A French bronze group of Europa and the Bull, Late 19th century, The Phoenician princess depicted perched upon the kneeling bull, both with floral garlands in their hair, on an oval base with ribbon tied laurel wreath border, 30cm high, 29.3cm wide, 20cm deep Footnotes: Note: The story of the meeting of Europa and Zeus appears in Ovid Metamorphoses (Bk 2, verses 833-875). While strolling on a beach in Sidon, the beautiful Phoenician princess Europa encounters Zeus, who transforms himself into a bull in order not to draw attention to his wife Hera. Europa approaches the impressive animal to stroke it and it kneels and entices her to climb onto its back. The Bull then carries her off to the Island of Crete, where their union results in the birth of Minos, Rhadamanthus and Sarpedon. The iconography was popular in the Ancient world, depicted in wall paintings, mosaics and vases, and was painted by artists such as Titian in 1559-1562, Rubens in 1628 and Rembrandt in 1632.
Lot 64
A French gilt-bronze mounted blue glass urn and cover, Third quarter 19th century, The removeable cover with lanceolate leaf clasped berried finial, above a gadrooned neck and baluster shaped body with fruiting vines suspended from Bacchic mask handles, the acanthus clasped waisted socle with laurel border on a square marble base with beaded rim, 27cm high; together with the mounts and base of another matching example, lacking glass body, mounted on a wood panel (2) Footnotes: Note: A similar pair of vases sold at Christie's, New York, Chicago Classical: A Private Collection, 19 November 2021, lot 108.
Lot 376
A pair of Italian bronze models of the Furietti Centaurs, After the Antique, first half 19th century, On later verde antico marble plinths, the bronzes - 35cm and 29.5cm high; overall - 47cm and 42.5 cm high, 27.5cm wide, 15cm deep (2)Footnotes: Note: The 1st century bronze originals of this pair of centaurs, which were themselves copies of a 2nd Century B.C. Hellenistic pair, were found together at Hadrian's villa in Tivoli by Monsignor Giuseppe Alessandro Furietti in 1736. After his death they were sold by the family and have been in the Capitoline Museums since. Following their discovery, the centaurs became highly popular and were widely admired by affluent collectors and especially by Grand Tour travellers, who commissioned reproductions of smaller sizes in various media.
Lot 455
After Albert-Ernest Carrier-Belleuse, French, 1824-1887, 'Amazone Captive', Third quarter 19th century, A bronze figural group of a female warrior depicted contrapposto with tumbling locks of hair, chained to a tree with the instruments of war at her feet, with cast signature CARRIER, 56.5cm high
Lot 59
After Francois Alexandre Devaux, French, 1840-1904, a French bronze model of a seated lady, Last quarter 19th century, Depicted seated on a naturalistic base with large blossoming flower, with cast signature DEVAUX to base, 33cm high, 33cm wide, 19cm deepFootnotes: Note: Francois Devaux exhibited at the Salon from 1870.
Lot 459
After Giambologna, Italian, c.1529-1608, an Italian bronze model of Venus after the Bath, Late 18th / early 19th century, The standing figure towelling herself dry, on a later siena marble base, the bronze - 21.2cm high; overall - 25cm high Footnotes: Note: The present lot is one of several versions of Venus after her bath by Giambologna and is one of his most sought-after compositions. Giambologna’s rendering of the female nude in a variety of poses are among the most admired in all of European sculpture. He reinterpreted classical statues in light of Michelangelo’s studies in contrapposto and figura serpentinata. The present lot demonstrates his desire to create models that could be admired from every vantage point. The beauty of the curving nude back of Venus is given equal attention to the front of the semi-nude.
Lot 37
After Giambologna, Italian, 1529-1608, a pair of large bronze figures of Mercury and Fortuna,Neapolitan, c.1900, The Messenger of the Gods depicted with his winged helmet and sandals and holding the caduceus, standing on a gust of wind emanating from the mouth of a mask representing Zephyr, Fortuna depicted standing on a wheel with her robes flowing behind her and holding a cornucopia, both on stepped circular bases, 189cm and 169cm high (2)
Lot 214
After Laurent-Honoré Marqueste, French, 1848-1920, a French bronze group of Hebe and Jupiter’s Eagle, Late 19th century, Depicted nude standing on a rocky outcrop holding a pitcher and cup of ambrosia with the eagle behind, the circular naturalistically-cast base with cast signature Marqueste and inscribed F. BARBEDIENNE. FONDEUR. PARIS, 77.5cm
Lot 238
A Chinese bronze ‘Liu Hai’ censer, Ming dynasty, 17th century, The censer cast as a three-legged toad, the cover cast as Liu Hai standing on clouds, 29cm high Footnotes: Note: Liu Hai is the Daoist Immortal associated with commercial success. He is almost always depicted together with his three-legged toad and cash, and conveys a wish for prosperity. Whilst there are many versions of the story of Liu Hai and his toad, the essential elements remain that as a reward for his friendship, the toad revealed the secret to eternal life. Holding the toad allowed Liu Hai to travel anywhere in the world instantaneously.
Lot 44
An Italian marble octagonal relief, Probably Rome, in the manner of Alessandro Algardi, 1595/98-1654, mid-17th century, Carved with a putto blowing a conch shell seated on a hippocamp, 45cm high, 45cm wideFootnotes: Note: The present lot is conceived in the manner of the leading Baroque sculptor Alessandro Algardi. The putto bears close comparisons to a bronze by Algardi where a putto blows two conch shells which itself derives from an early 16th century bronze in The Walter Art Gallery in Baltimore of a putto on a hippocamp by Bartolommeo Ammananti (54.465B). Another version of the bronze exists as part of a set of four putti playing musical instruments at the Wallace Collection in London (S204).
Lot 165
A bronze model of Hercules, French or Italian, first half 19th century, Depicted nude holding a club in his left hand with lion pelt draped over his arm and the golden apples of the Hesperides in his right hand, on circular base, 24.5cm high Condition Report: With modern screw affixed to underside of filled base.
Lot 325
An Arts and Crafts circular bowl by Philip Frederick Alexander, London 1910, hammered body, pricket banded decoration with cartouches of strawberry plants, roses, oak bowes and tulips, 22.5cm (8.6in) diameter, 673g (21oz)Philip Frederick Alexander was born in Hampstead, London in 1865. He registered his PFA mark with the London Assay Office on 6 July 1900, at which time his address was recorded as 28 Church Row, Hampstead, London NW. As well as working in silver, he executed work in copper and brass. Some of these designs are based on English Iron and Bronze Age forms.
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350105 item(s)/page