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Lot 349
ATELIER D'ERNESTO GAZZERI (1866-1965) A MARBLE HERM BUST OF A MEMBER OF THE LARRAIN FAMILY EARLY 20TH CENTURY The white and variegated yellow marble figure with bust surmount, carved with coat of arms quartered with the families of Navarre, Topalda of Navarre and Maldonado of Castille and another unidentified, signed "E Gazzeri Roma" 189cm high, 40.5cm wideCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some wear and mild loss to edges but generally in good condition- albeit with small inclusion to end of her nose and slightly dirty overall- fitted with bolt point to reverse to ensure safer displayPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 361
ENGLISH SCHOOL, 19TH CENTURY PORTRAIT OF A GENTLEMAN, BUST-LENGTH, IN A BROWN COAT, A LANDSCAPE BEYONDOil on canvas 75 X 62 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined. Surface dirt and yellowish discolouration of the varnish. Areas of paint loss around the edges resulting from contact with the frame, as well as an area of paint loss above the figure's left eye. UV reveals a restoration in the sky above the trees, as well as a large restored area in the sky between the figure and the red curtain. Condition Report Disclaimer
Lot 368
JOSEPH ROBINSON KIRK (1820-1894) WHITE MARBLE BUST OF A YOUNG WOMAN LATE 19TH CENTURY Signed to reverse "J R Kirk R.H.A Sculp" 66cm high, 40.5cm wide across shoulders Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Overall generally good- but surface is dirty and with some small knocks and losses to margin edges (including shoulders- back of hair etc). There are veins of darker inclusions within the stone- this is most evident running through right eye, bridge of the nose and left shoulder. Other scattered spots.Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 384
PROFESSOR GIUSEPPE BESLI (BESSI) (ITALIAN 1857-1922), CARVED ALABASTER FEMALE BUST OF 'GIUDITTA' (JUDITH) EARLY 20TH CENTURY Titled to the base, signed to reverse 52.5cm high, base 26.5cm wide Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Flaws to material to both sides of neck and around jawbones, also running up into hairline. Chin slightly darker hue suggesting it might be restored. Base and extremities with chips and losses. Left hand ear with area of loss. Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 511
A CONTINENTAL CARVED AND POLYCHROME DECORATED BUST OF THE MADONNA LATE 16TH/EARLY 17TH CENTURY With separate but possibly original stepped plinth base 51.5cm high overall, the base 35cm wide Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old worm throughout resulting in holes an some surface loss. Both shoulders with spliced repairs, some loss from handling to raised details, shrinkage cracks notably to reverse- with signs of old remedial filler. Paint loss from rubbing age and handling throughout. Some restorative retouching. Base worn to edges and cornersPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 2590
A late 20th century bronzed composite bust of a young girl, raised on a metal-clad wooden plinth, height 43cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2600
Barney Seale - a mid-20th century green painted plaster head and shoulders portrait bust of Ohan of the Benin, the youngest wife of H.H. Akenzua II, height 50cm, width 37cm, together with a group of related ephemera and photographs. Note: this bust relates closely to Lots 53, 54 and 55 in our sale on 7th September.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2594
A late 20th century white painted composite bust of a young woman, unsigned, height 54cm, together with another female seated figure, height 44cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2595
A late 20th century African carved stone head and shoulders portrait bust of a young woman, inscribed 'Shad' to underside, height 35.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 48
Circle of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Saint".Oil on canvas glued to panel.It has restorations.It has slight air bubbles caused by the adhesion of the canvas to the board.Measurements: 39,2 x 27,8 cm; 48 x 37 cm (frame).In this portrait we can appreciate the author's taste for veracity, as the face of the protagonist has been painted with great naturalism. The work represents the bust of a mature man, arranged on a neutral background. The face is the absolute protagonist of the work, magnificently modelled through a skilful use of light and shade, with appropriate contrasts that enhance the plasticity of the features. The gaze is the focus of our attention, and it is reflected with a veracity typical of a careful study of life.The treatment of light and the workmanship of the piece bring this work closer to the artistic circle of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
Lot 164
A SET OF SIX SIMULATED MARBLE BUSTS OF ROMAN EMPERORS AND FIGURES MODERN Each of bust form, painted simulated variegated marble fibreglass the tallest 77cm high, 52cm wide across shouldersProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Modern- mild Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Size variance- tallest 94cm high, smallest 71cm highPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 70
FOLLOWER OF CORNELIS JANSSENS VAN CEULENPORTRAIT OF A FRANCIS, LORD COTTINGTON, CHANCELLOR OF THE EXCHEQUER IN 1629, BUST-LENGTH, IN A BLACK COAT AND LACE COLLAROil on canvas73 x 57.5cm (28½ x 22½ in.)After the portrait of Francis Cottington, 1st Baron Cottington (1578-1652) in the collection of the National Portrait Gallery (NPG 605)Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined. Stretcher marks clearly visible. Craquelure across the entire surface of the canvas. Surface dirt and discolouration of the varnish. Several old restoration visible to the naked eye as well as under UV light. Condition Report Disclaimer
Lot 133
A pair of Italian late 19th/early 20th century gilt decorated mirrorspreviously girandolesEach plate within floral and foliate pendant, scrolled acanthus and Green Man mask carved surrounds, one surmounted by a male classical bust, the other by a female classical bust, missing their brass candle arms, each approximately: 76cm high x 46cm wide. (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 224
Joan Katherine Dummett (British, 1905-2005): A patinated bronze model of Britanniathe voluptuous female nude seated on a rocky outcrop, the base inscribed BRITANNIA with Alexis Rudier, Fondeur Paris foundry mark, and date 12.1926, 18cm high approximatelyFootnotes:Property from the collection of Joan Katherine Dummet, artist and sculptor (British,1905-2005)Joan Katherine Dummett was born in Crouch End, North London, the third of six children born to the lawyer Sir Robert Ernest Dummett and his wife Emma. In 1923 her mother took her and her four sisters, aged between four and twenty two on a grand tour of Europe which included visits to Paris, Munich and Garmisch-Partenkirchen. After arriving in Bordigherea in Italy, a town which was at that time known as an artist's community, her mother made enquiries to locate an artist who might teach Joan painting and sculpture as she had shown great artistic promise back in London. She was subsequently introduced to the artist and sculptor Jules van Biesbroeck (Belgium, 1873-1965) who agreed to take on the young Joan as a pupil. The pair got on very well and Biesbroeck was sufficiently impressed with her progress that when the family moved on from the town, Joan, then aged seventeen, stayed on, making regular visits to the artist and his family. Joan initially was chaperoned by and lodged with the nuns of the Convent Santa Chiara in the town before she finally became more independent and moved to the Hotel Bella Vista. Joan stayed in Bordigherea as van Biesbroeck's pupil for three years and he and his family later visited the Dummetts family in England for Christmas in 1923, and then at regular intervals up until the beginning of the second world war. In the three years after 1923, Joan sculpted a bust of an Italian peasant woman which was cast in Rome and then later exhibited at the RA and the Walker Art Gallery, Liverpool. However, in 1926 the teacher-pupil relationship was severed when van Biesbroeck decided to move to Algiers. Letters from Joan to her family from around that time, record that Biesbroeck invited her to visit him, but it is unclear if she ever did. In the intervening years van Biesbroeck maintained a prolific correspondence with Joan, although his letters record that the climate in Algeria did not agree with him and that he struggled to obtain artists materials.However van Biesbroeck continued to encourage Joan in her work during the 1920s and into the 1930s when she devoted her time between London and Paris. At this time Van Biesbroeck also spent time in Paris and met up with Joan during one of their visits. Their working relationship was cemented when the two exhibited together at the Gieves Gallery in London in 1931, showing paintings by Jules and sculpture by Joan. A copy of the exhibition catalogue is now archived in National Art Library at the Victoria and Albert Museum. A letter dating from the time just prior to the exhibition from Joan to her mother records that van Biesbroeck expressed the wish that their exhibition would be a great success. In the letter Joan also records that van Biesbroeck asked her to visit other earlier exhibitions at the same gallery to see if the usual attendance would give them sufficient exposure. However, she then goes on to record that he then chides her for being 'too in love' to remember to carry this out. This indeed turned out to be a correct prophecy as Joan married in late 1931 and then went on to have two sons in 1932 and 1933. Joan and van Biesbroeck continued to correspond until 1949 and she continued to work sporadically in sculpture and painting, mainly using family members as subjects, but she never exhibited publicly again. However, she channelled her artistic talents in nurturing the artistic potential of others, just as van Biesbroeck had for her, when she took up the post of lecturer and tutor in art and sculpture at the Sir John Cass College in London in the 1950s.For further information on this lot please visit Bonhams.com
Lot 235
Emile Laporte (French, 1858-1907): A gilt bronze bust of a theatrical Belle Epoque ladyher head with high swept chignon looking to sinister on swept integral base, her shoulders clad in drapery with corseted bodice, sheet music and a theatrical mask to the base, inscribed E.LAPORTE and with Siot foundry pastille, and number L645, 23.5cm high approximately For further information on this lot please visit Bonhams.com
Lot 279
A good George III carved white and Sienna marble chimneypiececirca 1790the moulded inverted breakfront shelf above a running figural frieze depicting putti playing a game of Blind Man's Buff flanked to either side by a small statue of a classical male youth raised on a draped pedestal and a classical female bust raised on a tripartite stand, between a pair of fluted panels, the headers decorated with figures of putti playing battledore and shuttlecock, the jambs as pendant figural pilaster panels, each with a skipping putto on bell husk festoon hung swept platform bracket above a ribbon tied florette roundel and leafy palette urn shaped vase raised on fluted circular pedestal, mounted on block feet, the inner Siena marble slip with moulded edges, 143cm high, 183cm wide, 18cm deep, the internal aperture, 93.5cm high, 108cm wide approximatelyThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 430
Professor Antonio Garella (Italian, 1863-1919): A sculpted alabaster, bronze and marble bust of 'Posie'the young bare shouldered maiden looking to sinister, her hair dressed 'a la grecque' wearing a laurel wreath, the rear signed P. Garella, the canted yellow veined shallow plinth base with applied bronzed metal presentation plate entitled POSIÉ, 27cm highFor further information on this lot please visit Bonhams.com
Lot 54
Basil Ivan Rákóczi (British/Hungarian, 1908-1979)Still life with a classical bust signed 'Rákóczi' (lower left)watercolour and gouache 54.3 x 44.4cm (21 3/8 x 17 1/2in).Footnotes:Basil Ivan Rákóczi along with Kenneth Hall was one of the leading members of The White Stag group. The group was founded in London by Rákóczi and Hall in 1935 and gained several new members in 1939 when they moved to Ireland. The aim of The White Stag group was to encourage the exploration of psychology in painting and modernist ideas.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 78
A late 19th century Italian painted terracotta female bustin the Renaissance style, possibly depicting Beatricethe serene female with downcast eyes, her head turned slightly to dexter, her cascading hair with braided low chignon, 39.5cm high overallThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 87
Cristoforo Vicari (Swiss-Italian, 1946-1913): A carved alabaster bust of a shy young girlclad in drapery holding a posy of flowers, her right arm and hand shielding her face, signed to the rear C. Vicari, on circular waisted socle, some damages, 51cm high overallThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 90
Attributed to Raffaele Monti (Italian, 1818-1881): A pair of third quarter 19th century white marble busts of Milton & Shakespearethe former modelled full face with long curling hair, lace trimmed tassel tied collar and draped shoulders, the later looking slightly to sinister wearing a tassel tied lace trimmed shirt and drapery, both apparently unmarked and raised on turned moulded circular socles, 51cm high overall approximately (2)Footnotes:Born in Milan, Raffaele Monti (sometimes mistakenly misspelt as Rafaelle or Raffaelle) was a sculptor, author and poet.Training under his sculptor father Gaetano Matteo Monti and at the Imperial Academy in Milan, he was invited to Vienna in 1838/9 where he cultivated extensive patronage before returning to Italy two years later. In 1846, Monti travelled to England for the year, before making the decision to move to the country permanently. He exhibited at the Royal Academy and gained a favourable recognition as a leading sculptor with his acclaimed work for the 6th Duke of Devonshire, the 'Veiled Vestal' which featured an illusionistic veil which became a specialism of his. A bust based on this work subsequently cast in 'statutory' porcelain (now known as Parian) by Copeland entitled 'The Bride' but often known as 'The Veiled Bride', was produced in larger numbers from 1861 by the (Crystal Palace) Art Union. This became one of the most popular subjects in the medium of Parian and Parian style porcelain, and is now widely associated as one of the most typical examples of the decorative arts of mid Victorian Britain. Monti produced in marble, bronze and porcelain, while remaining active in the applied arts until his death in 1881.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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