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Lot 364
Roman Grand Tour - two portraits of Pope Pius VI, bust-length, in profile, in the Neoclassical within a Roman fresco: 1) Marco Carloni (1742-1796), Pio. Sexto. P.M./Bonarum. Atrium.Patrono, Rome: [...], 1787; 2) another, Alex Mochetti (1760-1812), Rome: 1790, each a copperplate etching and engraving, 62cm x 44.5cm, (2); Pietro Felix (fl. c. 1782-1807), after Domenico Pronti (1750 - ca. 1815), [The Statue of The River Nile and other Classical marbles in the collection of the Vatican Palace], [probably from 'Il Museo Pio-Clementino Descritto', n.p., Rome: probably Ludovico Mirri Mercante Di Quadri Incontro Il Palazzo Bernini, n.d. ?1782-1807], copper-plate engraving, 62cm x 44.5cm, (1), [3]
Lot 53
Ernest Forbes - 'Augustus Enthroned' (Barney Seale sculpting the head of Augustus John), early 20th century oil on canvas, signed recto, titled, and additionally signed by Augustus John verso, 60.5cm x 50cm, within a painted and gilt composition frame. Note: this painting was reproduced as a full-page colour illustration in 'The Sketch', 25th November 1936, p.349. Seale's bust of Augustus John was exhibited at the Royal Academy in 1937. This lot relates closely to Lot 2600 in our sale on 8th 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 104
After Pieter Van Der Zugeschrieben Werff - Paintress in the studio - A 19th Century oil on canvas painting depicting a young woman seated in blue gown seated at table / desk painting a classical marble bust. Set within a gilt swept frame with shell & acanthus leaf borders. Measures approx; 72cm x 62cm (45cm x 39cm).
Lot 1210
A COMMEMORATIVE PEARLWARE RECTANGULAR PLAQUECirca 1822Probably PortobelloMoulded and painted with a bust portrait of George IV in military uniform above a banner inscribed `Welcome King George IV', the corners painted with roses and thistles, 18cm by 22cm. The plaque was made to commemorate the visit of George IV to Scotland in 1822Condition Report; Three long firing cracks from the rim.Two shorter firing cracks. Minor rim chips and wear
Lot 1211
A SMALL SCOTTISH PEARLWARE COMMEMORATIVE PLATECirca 1822Probably Prestonpans, moulded with a titled bust portrait of Queen Caroline, inside a border moulded with crowns, thistles, feathers and ribbons, 17cm diameter. Provenance: J & J May, London ,with paper labelCondition Report; Haircrack to the rim, approx. 2.5cm length. Two small shallow rim chips. Minor wear to enamels and pink lustre.
Lot 1361
A ROYAL WORCESTER BLUSH IVORY GOLDEN JUBILEE COMMEMORATIVE SCENT BOTTLECirca 1887Moulded with a bust of Queen Victoria above a light blue banner inscribed Victoria 1837-1887, the reverse moulded with flowers emblematic of countries of the United Kingdom, the silver screw top cover in the form of a crown, gilt factory mark and registration number 58103, 7.5cm highTwo small chips to the gilt frame around the Queen's portrait.Minor wear to the gilding. The silver cover appears to have originally had some gilding which has worn
Lot 133
Resin copy bustPlease note this lot is not subject to VAT. The hammer price will still be subject to our buyer's premium, however it is only the buyer's premium that is subject to VATWe have employed the services of a specialist to assist in the lot descriptions, however it is important to note that no descriptions can be warranted and buyers should only bid on items they have inspected to their satisfaction prior to bidding. We do NOT provide condition reports as we are insufficiently expert to comment, our speciality being insolvency, not specific asset classes.Where there are errors in description, however major, no allowances will be made. No consumer rights apply to this sale, which is only suitable for trade buyers. It is a strict condition of sale that successful bidders remove lots in their entirety (after payment has been made). Please factor in the requirement to remove the total contents of any lot when deciding whether to and how much to bid.IMPORTANT NOTICE FOR CUSTOMERS USING STARLING BANK: It appears there is a problem when Starling Bank customers pay for their lots online with Bidspotter/iBidder/The-Saleroom. Our advice is not to use Starling issued cards to pay online until this issue is resolved. Please be aware if you pay with a Starling Bank issued card you may be double charged initially and it can take two weeks or more for the duplicate transaction to be returned.YOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPYOU MUST PAY AND COLLECT WITHIN 2 DAYSROBSON KAY DO NOT SHIPAll Lots located at Robson Kay in Manchester. Goods successfully bid upon must be paid for and collected within 2 daysWE DO NOT ARRANGE DELIVERY NOR DO WE PACKAGE OR LOAD. We do not print labels, provide boxes or seal boxes. We do not provide any kind of shipping or loading servicesIf these rules might pose a problem, DO NOT BIDLate collections incur a penalty, please read our full rules before bidding.Goods paid for, but not collected within one week of the collection deadline, will be treated as abandoned unless agreed in writing with Robson Kay prior. Please remember to inform us if you intend using a carrier, to avoid us disposing of goods you might think have already been collectedLots are SOLD AS SEEN. We DO NOT TEST LotsNO REFUNDS under any circumstances No lots are tested, nor are they guaranteed to work and/or be complete. Our auctions are only considered suitable for trade buyers as there are no rights of consumer protectionNo refunds or cancellations can ever be offered. If you are unhappy with these terms DO NOT BID.
Lot 201
Edward Hodges Baily, A young lady, marble portrait bust, inscribed E H BAILY R.A. / Sculpt LONDON / 1833, on a turned circular socle, 72cm; on an alabaster column with spiral twisted section, octagonal plinth, 107cm. Footnote:Exhibited: possibly London, R.A., 1834, No. 1083, ‘A Lady of Quality’.
Lot 501A
A collection of John Charles autographs,comprising two signed Norman Hood limited edition prints, six signed b&w postcards, one double-signed with his brother Mel; and a signed typescript letter; the lot also including a private colour photograph (unsigned) of John Charles with his wife and admiring a bronze bust of the 'Gentle Giant'; sold together with further football autographs, single signatures on cad comprising Peter Broadbent, Len Shackleton, Wilf Mannion, Ernie Taylor, Ivor Allchurch and Ivan Broadis; a postcard signed by Bobby Collins (accompanied by an unsigned press photo of Collins with his FWA Player of the Year Trophy); colour photo signed by Allan Clarke; a photo triple-signed by Mick Jones, Norman Hunter and Peter Lorimer; a Liverpool FC 1978 European Cup 25th anniversary dinner programme signed by Hughes, Neal, Case. Clemence, Fairclough and Jones, plus related menu also signed;
Lot 568
Robert Pires red and white Arsenal no.7 jersey from the infamous Keane v Vieira tunnel incident match v Manchester United, played at Highbury, 1st February 2005,Nike, long-sleeved with BARCLAYS PREMIER SHIP CHAMPIONS 2003-2004 sleeve badges, STAND UP SPEAK UP badge, club crest and sponsor logo, reverse lettered PIRES, size L, bears pitch marks on reverse, has been washedManchester United defeated Arsenal 4-2, this fixture was famous due to the tunnel bust up between Patrick Vieira and Roy Keane.
Lot 131
2nd-3rd century A.D. A substantial hollow-formed ornament depicting the bust of Bacchus (Greek Dionysus) with clean-shaven face, wearing a wreath of ivy leaves, bunches of grapes in his hair, draped deer skin tied in a knot on his right shoulder, hooves hanging down; rectangular opening in base, circular opening in crown for fixture possibly to a chariot; accompanied by a custom-made display stand. See Boucher, S., Inventaire des Collections Publiques Françaises - 17 Vienne: Bronzes Antiques, Paris, 1971; Ratkovi?, D., 'Wagon and Harness Bronzes from the Roman Collection of the National Museum in Belgrade' in Thiasos, Festschrift fur Erwin Pochmarski zum 65. Geburtstag, Wien, 2008, pp.793-815, figs.3-7-8, for similar items; compare also with decorated chariot fittings in Menzel, H., Die römischen Bronzen aus Deutschland III, Mainz am Rhein, 1986, pp.164-177, nn.458-485, especially pls.142-144, for those with the bust of gods; for another possible bust of Bacchus decoration of chariot see Humer, F., Kremer, G., Pollhammer, E., Pülz A., AD 313 Von Carnuntum zum Christentum, Bad Voslau, 2014, n.84. 323 grams, 99mm (356 grams total, 12 cm including stand) (4 in. (4 3/4 in.)). Private collection since the 1970s. Property of an Austrian gentleman. Accompanied by an archaeological report by Dr. Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10417-171002. Grave finds of various types, be they travelling carriages, chariots, or two or four wheeled wagons, include remains of wood, structural parts such as wheels, as well as metal parts of joints, wagon fittings and harnesses. Bronze figurative decorative elements on funerary wagons are very often of Dionysiac character and related to Dionysiac mysteries. Hence, it has been customary for scholars to interpret such decorative elements as associated exclusively with the cult of Dionysus. This type of mount was probably used as a bridle holder, placed near the driver’s seat on the wagon platform, or as a central decoration on the rear of the wagon. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]
Lot 132
Circa 1st-3rd century A.D. A bronze bust of a young lady, representing a person of importance, possibly an empress or a goddess (Juno or Flora); her head tilted slightly to the left, hair made up in an elaborate coiffure, dressed in robes falling from her shoulders to a V-shape neckline; hollow reverse for attachment; mounted on a custom-made display stand. See Rolland, H., Bronzes Antiques De Haute Provence, Paris, 1965, item 475, for comparable example; cf. Cavalieri, M., 'Ipotesi sulla produzione bronzea dell’Emilia occidentale in età romana' in Santoro, S., Artigianato e produzione nella Cisalpina. Parte I. Proposte di metodo e prime applicazioni, Firenze, 2004, pp.173-198, fig.4. 142 grams, 80 mm (174 grams total, 10.2 cm including stand) (3 1/8 in. (4 in.)). UK collection started in the early 2000s. Ex London, UK, gallery. The small bronze statue was probably originally attached to a piece of furniture. Furnishings such as appliques, small sculptures and furniture fittings in general, sometimes evidenced extremely refined products. Among these there are also busts of female divinities, as in our sculpture, which finds parallel with a furniture applique representing a bust of Juno, or with the Flora of Luceria.
Lot 148
1st century B.C. A gold ring comprising a round-section gold hoop and inset a later amethyst cabochon, intaglio portrait bust of a goddess looking right. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 143, for type. 4.67 grams, 23.43 mm overall, 17.60 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (7/8 in.). Acquired 1970-2010. Collection of a late Japanese gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11323-190881. The gemstone shows a portrait of a young girl, maybe the goddess Demeter or Ceres-Hecate-Artemis, with a portrait style which seems contemporary to the ring. Demeter and Hecate were linked to the afterlife cult, so it is possible that the ring was a funerary gift. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 173
Constantinople, 11th century A.D. A flat-section silver cross bearing a niello engraved design to one face, showing the Virgin and Child seated at the centre, bust of an evangelist within a roundel to each of the four arms; Matthew at the top, John in the right arm, Mark below and Luke in the left, each identified by a Greek inscription. See Schweizer, F., Etude de l'orfevrerie antique: une approche scientifique nouvelle pour la caracterisation du nielle, L'oeuvre d'art sous le regard des sciences, Geneva, 1994, pp.211-220; see Pitarakis, B., Les Croix Reliquaires Pectorales Byxantines en Bronze, Paris, 2006, fig.18, p.37. 19.6 grams, 92 mm (3 5/8 in.). Yorkshire private collection until 2016. Acquired in the UK trade. Ex central London gallery. Accompanied by a copy of a previous typed catalogue page. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11333-192187. The object's dimensions and undecorated reverse suggest that it was originally inset into a larger object or set against a backing material, such as a votive cross that could be set upon a portable altar or held in the hands for veneration. As a symbol of Christ's victory over death, the cross was the most popular Christian sign in the Byzantine period. Small cruciform encolpia were also worn around the neck as powerful amulets protecting their bearers from evil. The closest parallel to our cross originated in a goldsmith's workshop in Constantinople in the 11th century A.D. and is now held in Geneva's Musée d'art et d'histoire. It seems likely that our cross originated in the same workshop or a closely related one. [No Reserve]
Lot 34
Late Period, 525-330 B.C. A diorite bust of a male dignitary, modelled facing, wearing a wig, with stylised detailing to the ears and face; partial hieroglyph to reverse; mounted on a custom-made display stand. Cf. Bothmer, B. V., Egyptian Sculpture of the Late Period, 700 B.C. to A.D. 100, New York, 1960, pls.45, no.111, and 55, no.136. 2.03 kg total, 20 cm high including stand (7 7/8 in.). Ex Jean-Paul Bourgis collection, Beaulieu-sur-Mer, France, 1980. Accompanied by scholarly note TL05439 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11286-192115. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 38
18th Dynasty, 1479-1425 B.C. A carved stone scarab or bead, plano-convex in form with gusset to the outer edge and longitudinal piercing; obverse with profile bust including detailed tiered hairstyle, large lentoid eye with brow detail, full lips; reverse with incuse scene of the pharaoh on his chariot pulled by a horse, royal cartouche and symbols in the field. See Andrews, C., Amulets of Ancient Egypt, London, 1994, for discussion of the type. 12 grams, 34 mm (1 1/4 in.). Acquired 1979-1999. London collection of the late Mr S.M., thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11289-192750. Thutmose III was the sixth pharaoh of the 18th Dynasty who ruled Egypt for more than 50 years (generally dated from 28 April 1479 B.C. to 11 March 1425 B.C.) His official reign began at the age of two and lasted until his death aged 56, but the first 22 years of his reign were under co- regency with his stepmother, Hatshepsut, with Thutmose serving at the head of the military. At the end of his reign, he appointed his son, Amenhotep II, as his own co-regent after the early death of his firstborn son, Amenemhat III. Thutmose III conquered territory from Syria to Upper Nubia to create the largest empire Egypt had ever ruled.
Lot 425
France, Paris, circa 1530-1540 A.D. A group of two polychrome stained glass medallions in lead frames: a laureate and bearded male bust of a Roman emperor Lucius Verus facing right, 'MAX AVR VERVS AVG ARM PARTHICVS' legend around; bearded emperor Commodus wearing a lionskin hood, 'M AEL AVREL COMM AVG PFEL' legend around. 595 grams total, 24-24.2 cm (9 1/2 in.). Property of a Parisian family, 7th arrondissement; by descent. Ex central London gallery. [2, No Reserve]
Lot 438
13th-14th century A.D. A detailed pewter pilgrim's badge with a facing mitred bust of Thomas Becket within an almost complete beaded hexafoil frame of pointed arches and tracery infill; with a small note giving a reference. See Spencer, Brian, Medieval Finds from Excavations in London - Pilgrim Souvenirs and Secular Badges, Museum of London, 2010, no.116b, for a very similar piece; see Mitchiner, Michael, Pilgrim and Secular Badges, Hawkins, 1986, no.106, for an almost identical example. 4.55 grams, 37 mm (1 1/2 in.). Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection (part 4), Essex, UK. The story of the martyrdom of Thomas at the hands of Reginald FitzUrse, Hugh de Morville, William de Tracy and Richard le Breton is well known; Thomas was in conflict with Henry II and had only recently returned from exile in France when these four knights, seeking to please Henry, travelled to Canterbury and slew Thomas in the cathedral; Henry was obliged to do public penance for the act and Becket's shrine became the major focus for pilgrimages in Britain and beyond. [No Reserve]
Lot 439
13th-14th century A.D. A complete pewter pilgrim's badge of Thomas Becket depicting his facing mitred bust within a beaded hexafoil frame of arches with pin to reverse; with a small note giving the reference. Spencer, Brian, Medieval Finds from Excavations in London - Pilgrim Souvenirs and Secular Badges, Museum of London, 2010, no111a, (this piece). 2.37 grams, 29 mm (1 1/8 in.). Found on the Thames foreshore, London, UK. Acquired on the UK antiques market between 1974-1985. Albert Ward collection (part 4), Essex, UK. The story of the martyrdom of Thomas at the hands of Reginald FitzUrse, Hugh de Morville, William de Tracy and Richard le Breton is well known; Thomas was in conflict with Henry II and had only recently returned from exile in France when these four knights, seeking to please Henry, travelled to Canterbury and slew Thomas in the cathedral; Henry was obliged to do public penance for the act and Becket's shrine became the major focus for pilgrimages in Britain and beyond. [No Reserve]
Lot 444
Late 15th century A.D. A lead-alloy pilgrim's badge depicting mitred bust of St Thomas Becket, the episcopal mitre surmounted by a cross, the upper part of the chasuble visible; pin to the reverse. Cf. Hammond, A., Artefacts of England & the United Kingdom, Fourth Edition, Coggeshall, 2021, p.775, no.M-240116. 2.76 grams, 40 mm (1 1/2 in.). Found in Thames mud approximately 50 yards south of London Bridge. Acquired 1980s. Collection of M. Cummings, Lincolnshire, UK. Ex J.M. collection. Accompanied by a typed collector's catalogue sheet. The badge is a pilgrim souvenir from Canterbury, intended to commemorate the famous reliquary known as Caput Thomae, the head of Thomas. The reliquary had the form of a richly jewelled mitred bust, and pilgrim badges, as this one, indicate that the head-reliquary became one of Canterbury's principal attractions to pilgrims.
Lot 451
18th century A.D. A gold finger ring with hoop formed of two parallel rods divided to support the bezel; tapering elliptical bezel with inset cast glass intaglio portrait bust in profile of a bearded male with short curly hair. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, p.982, for type. 9.62 grams, 23.35 mm overall, 17.07 x 18.44 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). Acquired 1970s. Collection of jewellery formed by a lady.
Lot 78
4th-2nd century B.C. A life-size terracotta head of a youthful woman, modelled with semi-naturalistic facial features, hair pulled back from her face in textured layers, held by a fillet, button-shaped earrings in her ears; hollow-formed, hole to the top of head; mounted on a custom-made display base. Cf. The British Museum, museum number 1873, 0820.125, for a similar face in bronze; Torelli, M., Gli Etruschi, Monza, 2000, pp.378-379,588; the Fordham University Library collection, inventory nos.10.003, 10.008, 10.010. 2.5 kg total, 31.5 cm high including stand (12 3/8 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11298-189874. Votive offerings in the form of heads are typical dedications from the Etruscan sanctuaries of central Italy, which became widespread mainly from the 4th to 3rd centuries B.C. This lovely bust, of natural pink terracotta, is an excellent example of the awakening sophistication of Italic artists, who over the following two centuries, fused native traditions with imported ones and gave birth to the multifaceted art of late Roman Res Publica. One cannot exclude the possibility that the sculptured head adorned a temple or funerary sculpture, and was pertinent to a full size statue. Some forerunners of this coroplastic can be seen in the famous statues from the Necropolis of the Pedata (Chianciano), from which emerges the image of the Mater Matuta. The material employed here (pink clay) is more similar however to the one used for the votive heads from the Nemi Sanctuary (Torelli, 2000, p.126), and points towards a votive or funerary function of the head. For this specific lot, 5% import VAT is applicable on the hammer price [A video of this lot is available to view on Timeline Auctions Website.]
Lot 81
Late 4th-early 2nd century B.C. A votive terracotta head modelled in the round as a youthful male with short wavy hair, furrowed brow line and semi-naturalistic facial features; hollow-formed; accompanied by a custom-made display stand. Cf. Bruni, S., 'La scultura (The sculpture)' in Torelli, M., Gli Etruschi (The Etruscans, in Italian), Monza, 2000, nos.302-305, pp.630-631. 2.34 kg total, 25.5cm including stand (10 in.). Private collection. With Galerie Serodine, Ascona, Switzerland, early 1990s. Ex collection of Dr. E.N., acquired in 1995. The head, which perhaps belonged to a medium-sized terracotta statue, or to a votive bust, shows the precise features of Etruscan portraiture of the Roman age, characterised by long facial planes and grooves on the forehead and under the chin. The sculptures of this period search for the physiognomic details of the individual, with attention to the representation of the hair, often divided into locks on the high forehead. For this specific lot, 5% import VAT is applicable on the hammer price
Lot 495
Four Victorian gilt metal and shell cameo oval brooches. Comprising; a cameo carved with Zeus in the form of an eagle taking a libation from Hebe, within an open scrolling wirework frame, the cameo approx. 52mm high overall, the brooch 61mm high overall; a cameo depicting an unknown classical female head and shoulders bust facing left and wearing a laurel wreath in her hair, in a tubular cross-over frame; another similar cameo on a dark ground, in a facetted frame; and another possibly of Minerva facing right, in a ropetwist frame.
Lot 541
A vintage gold, garnet and shell cameo oval brooch. The cameo depicting an unknown female head and shoulders bust, claw set within an undulating line-engraved frame set with eight small round garnets, stamped verso '9ct', the cameo approx. 25mm x 19mm, the brooch 32mm high overall, 6.2g gross
Lot 544
A Victorian gilt metal and shell cameo oval locket-back brooch. The large oval cameo depicting a Bacchante head and shoulders bust facing right, rub-over set within a broad frame engraved with small floral bouquets and with triple-link chain motifs at the cardinal points, the back with a glazed woven hair panel, the cameo approx. 57mm x 44mm, the frame approx. 77mm high overall.
Lot 117
2nd century B.C.-1st century A.D. A terracotta oil lamp formed as a male bust with stern expression, the handle formed with a foliage crest, oval nozzle; circular filling hole to the crown of the head. See Djuric, S., Ancient Lamps from Mediterranean, Toronto, 1995, no.NA-76, for the type. 53 grams, 11.3 cm wide (4 1/2 in.). Found Rome, Italy, before 1859. From a 19th century collection and latterly in a London collection. Accompanied by a small original handwritten card: 'Lico. Brought Rome by AFB. 1858.' 'Plastic' lamps with figurines first appear in the Hellenistic period, possibly originating in Athens. Found in all parts of the Mediterranean basin, they were particularly popular during the 1st and 2nd centuries A.D. Some of them, depicting satyrs or Silenus, have handles shaped like palm leaves. This raised forehead was part of a vertical bar making it a so-called boot-shaped lamp.
Lot 447
A LARGE PAIR OF 19TH CENTURY EGYPTIAN REVIVAL BRONZE AND MARBLE COLUMNS each with a classical bust mounted on tapering reeded columns with Greek key necks and bronze swag work; standing on stepped square bases with lions paw feet57.5cm high 16cm wideOne of the columns has chips and an area of restoration to the top just below the scrolled plinth. The other column has very minor chips in the same area, otherwise in very good condition, with nice patina to the bronze and good quality gilding. The marble on the base of the female bronze column has a small chip on the front and both pieces of marble on the tops of both the bronze columns have a tiny nibble on the edge. Extra images uploaded.
Lot 500
A PAIR OF LATE 18TH CENTURY FRENCH ORMOLU FIGURAL CANDLESTICKS with shaped leaf cast scones standing on figural bust mounts with tapering supports and scrolled feet, mounted on circular bases stamped beneath with initials MM and numbered 1692.13cm high Both are in good condition without damage or restoration. Both sconces are very slightly leaning.
Lot 700
WILLIAM HALLIWELL, HORLEY. A GEORGE III FIGURED MAHOGANY LONGCASE CLOCK the glazed swan neck pediment above the hinged door flanked by brass capped reeded columns on a slender trunk with shaped top door and reeded quarter columns on a canted box base with a crossbanded panel. The 13" arched brass dial with masked spandrels, Roman and Arabic numerals surrounding a matted engraved centre with subsidiary seconds dial and calendar aperture, rotating moonphase to the arch with engraved verses fronting an eight-day weight driven movement with anchor escapement striking on a bell218cm highThe clock is in good overall unrestored condition, the movement and dial are original to case, the case is dirty bust has a good colour and patination, the glass in the swan neck is damaged on one side, the side mouldings to the top of the hood have some small losses, the feet are missing from the base, the dial has lost its silvered finish, the movement runs when wound but will require a service, the calendar and moonphase drive wheels have been removed, seatboard is original and sits nicely on the cheeks. No splits or warping to the door or case.
Lot 532
19th Century Parian bust of the Duke of Wellington, after Pitts, London 1852 together with a Copeland Parian bust of Sir Colin Campbell, 9.25ins and 9ins respectively, together with two other Parian bustsYoung American boy has been restored at base, the rest have some scuffing, otherwise in good condition
Lot 170
Felix Eduboh - A 20th Century African Tribal hand carved ebony statue bust depicting a woman with typical hairstyle and gently carved features raised on plinth base with incised details. Measures approx; 28cm tall. Good condition. Provenance; purchased by the vendors family with receipt from West African World Travel
Lot 23
C. Hocböck. Central European Art Nouveau School, ca. 1910"Young lady".Bust, Art Nouveau, ca. 1900 .Patinated terracotta. Terracotta bust of a young woman of fine beauty, with elegant features that denote a certain classical idealisation, although her restrained and emotional expressiveness is typical of the fin-de-siècle period. She has long hair, which she covers with a cape. It is patinated in various colours and gilding.Signed C. Hocböck. on the side.Provenance: Spanish private collection, formed between 1970 and 2010. Good condition Normal wear and tear due to use and the passage of time.Measurements: 48 x 30 x 22 cm.
Lot 51
JEAN FORETAY (Morgues, Switzerland 1861-1944)Bust, Art Nouveau, ca. 1910.Patinated terracotta. Terracotta bust of a long-haired woman with the name of Velleda, wearing a choker and pendants around her neck. This sculpture is patinated in warm autumnal earth tones simulating bronze.Signed A. Foretay on one side and titled "VELLEDA" on the front.Provenance: Spanish private collection, formed between 1970 and 2010.Slight chipping. Normal wear and tear due to use and the passage of time.Measurements: 63 x 37 x 25 cm.Alfred Jean Foretay was born in Morges, Switzerland, on 12 January 1861. At the age of 16, he left the country for Paris where, in 1877, he attended the Ecole des Beaux-Arts. A pupil of Falguières, he obtained an honourable mention in 1891 and a gold medal in 1904 while attending the Paris Salons. Fifteen years later, he married. After a successful contact with several masters of French sculpture and painting, he decided to return home with his wife and daughter. Foretay left a legacy of remarkable sculptures that are highly collectible.
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