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Lot 94
LONDON 2012 OLYMPIC GAMES: UNION JACK BICORN HAT FROM NELSON'S COLUMN 2012, DESIGNED BY SYLVIA FLETCHER FOR LOCK AND CO. Modelled with an original London 2012 Paralympic torch, with plexiglass flame, now mounted on a display grey-painted wood bust of Nelson, signed and dated by Boris Johnson '8/1/2013',tThe hat 114 cm wide, overall height 183 cm This hat was displayed on top of Nelson's Column, Trafalgar Square as part of an exhibition held in central London during the London 2012 Olympic games where designers 'hatted' famous monuments across the capital. Provenance: Part of the residual contents of Newton Surmaville
Lot 060506
Berliner Eisen-Ring, deutsch um 1830, Ringschiene verziert mit Blüten und Vögeln, Ringkopf oktogonal mit erhaben ausgearbeiteterBüste Martin Luthers, RW 63, sehr selten, sammelwürdig, musealBerlin iron-ring , german 1830s, splint decorated with blossoms and birds, ring head octogonal with embossed worked bust of Martin Luther, ringsize 63, very rare, collectable, museum
Lot 060572
Schweres Nadeletui, wohl deutsch um 1870/80, Silber gepr., Darstellung: gebändertes Hornmit Kugel und Akanthusblattverz., Verschluß inForm einer Frauenbüste, Aphrodite, vollpl., ungewöhnlich an Kette, sammelw., L. ca. 7 cmHeavy needle case , probably german approx. 1870/80, silver tested, presentation: horn with sphere and acanthus leaf decor., clasp shaped like a woman's bust, Aphrodite, vividly, unusual with chain, collectable, l. approx. 7 cm
Lot 3553
Coins - A Charles I shilling, tower mint, type 3a; a Charles II four pence, 1683; a William III half crown, 1700, first DR bust, edge DVODCIMO; A Queen Anne half crown, pre union, roses and plumes, 1707; a James II six pence, 1687, later shields; A quantity of George III, George IV and William IV silver coinage (qty)
Lot 3557
Coins - An Edward III penny, Canterbury mint; an Edward III penny, London mint, Edward of England, Lord of Ireland; an Edward III penny, London mint (holed and chipped); an Elizabeth I sixpence, 1578, fifth issue (cracked); a James I sixpence, 1610, forth bust; a James II three pence, 1688; a Queen Anne shilling, forth bust, 1711 (7)
Lot 3138
A mid-18th century Austrian Baroque alabaster bas relief portrait roundel, of Sigismund Graf von Schrattenbach, Prince-Archbishop of Salzburg (1698-1771), one of Wolfgang Amadeus Mozart's and Joseph Haydyn's earliest patrons and employers, bust-length and in profile, carved in high relief with a curtained background, 8cm diam, draught-turned ebony frame, 11.5cm diam overall, c. 1760
Lot 338
A Gandharan stucco head of Buddha, 2/3AD, Afghanistan, on a wood base, 16.5cm overall; a South East Asian carved stone bust of Shiva, on a wood base, 14.5cm overall; A Syro-Hittite terracotta bust of a deity, circa 2 BC, with bird like features, on a perspex mount, 6cm overall; and a small Pre Columbian standing figure, on perspex base, 6.4cmThe private collection from a deceased estate.
Lot 311
After Pietro Terani (Italian 1789-1869 a carved Carrara marble bust of Augustus Caesar on a turned socle bearing the legend "TERANI". Mounted on a turned and fluted wood and simulated marble column on a square base. 59 cm high x 30 cm wide the bust alone, 104 cm high 29 cm wide overall the column.The bust is in good orderThe column has signs of scratches and wear to the base and marks and scuffs and losses to the finish, surface.
Lot 312
A large painted plaster cast bust of Hermes of Praxiteles on a turned wooden column painted to simulate variegated Sienna marble with white painted socle foot. 171 cm high x 61 cm wide, 92 cm height of column alone.Some flaking to the paint of the bustSome old chips and damage to the columnOld damage in the form of a large segment missing from the turned base of the bust
Lot 305
Jan Davidsz de Heem, 1606 Utrecht – 1683/84 Antwerpen, zug.JÜNGLINGSBÜSTE, UMGEBEN VON FRUCHT- UND BLUMENGEBINDEN Öl auf Leinwand. 170 x 123 cm.Das äußerst großformatige Gemälde, in betörender Qualität ausgeführt, zeigt im Zentrum der schwarzgrundigen Gesamtdarstellung eine steinerne Jünglingsbüste im Stil der Antike. Sie ist umrahmt von einem trompe-l‘oel-artig gemalten, großen barocken Steinrahmen mit ausziehenden Voluten und einem, unterhalb der Büste angemeißelten, geflügelten Engelskopf, in Art eines Epitaphs. Die Wiedergabe der Bildhauerelemente in Steingrau, leicht verschattet. Umso mehr bricht die leuchtende Farbenfülle der Frucht- und Blumengebinde hervor, die in vier größeren Partien zusammengefasst sind. Zwischen Blattwerk zeigen die einzelnen Gebinde helle Trauben, Rosen und Hibiskusblüten, daneben Nelken und entsprechendes Blattwerk. Dazwischen gebunden sind Pfirsiche, ein geöffneter Granatapfel, Zitrusfrüchte und Pflaumen, am Unterrand etliche reife Feigen. Himbeeren und leuchtend rote Kirschen fügen sich in die Farbkomposition ein, jeweils vor dem fein gemalten Blattwerk bewusst abgehoben. In der Blumenstilllebenmalerei der Zeit üblich, lassen sich auch Insekten wie Maikäfer und Schmetterling finden. Gemäß der Blumensymbolik der Zeit erscheinen die einzelnen Blüten und Früchte auf die Jugend der Knabenbüste zu verweisen, möglicherweise als eine persönliche Hommage. (†) (12901422) (11)Jan Davidsz de Heem,1606 Utrecht – 1683/84 Antwerp, attributedBUST OF A YOUNG MAN SURROUNED BY BOUQUETS OF FLOWERS AND FRUITOil on canvas.170 x 123 cm. (†)
Lot 664
Auguste Rodin, 1840 Paris – 1917 MeudonBRONZEBÜSTE „SUZON“Höhe: 31,5 cm. Diese Gießermarke „Companie des Bronzes“ findet sich auch an der linken Schulter, die Signatur „A.RODIN“ am Büstenansatz oberhalb des mitgegossenen Rundsockels.Feiner Bronzeguss, in Kaltarbeit nachziseliert, mit goldbrauner Patina. Die zwischen 1872 und 1873 geschaffene Büste zählt zu den wenigen frühen Werken des bedeutenden Bildhauers, in einer Zeit, als er überwiegend Auftragsarbeiten annahm. Der traditionelle Einfluss der Plastik des ausgehenden 18. Jahrhunderts, der in jener Zeit im französischen Historismus gängig war, ist auch noch an diesem Werk zu erkennen. Der berühmte Bildhauer Albert-Ernst Carrier-Belleuse (1824-1887), der an der Pariser Oper gewirkt hatte, und nun als Lehrer Rodins mit ihm zusammenarbeitete, ist dem Werk noch anzusehen. Beide waren damals zusammen ins belgische Exil gegangen, wo die Ausführung der „Suzon“ auch entstand. Rodin widmete diese Büste als Hommage an seinen Lehrer Carrier-Belleuse. Zunächst in Stuck geformt, dann in Sèvres-Porzellan, später, als Rodin in finanziellen Schwierigkeiten war, auch in Bronze, nachdem er die Gießerlaubnis der Gießerei in Brüssel übertrug. A.R.Literatur. Robert Descharnes and J-F. Chabrun, Auguste Rodin, Paris 1967 (weitere Ausgabe illustriert S. 46). John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia 1976, Nr. 106-2 (weitere Ausgabe illustriert S. 582). Antoinette Le Normand-Romain, The Bronzes of Rodin. Catalogue of works in the Musée Rodin, Bd. II, S. 961 (weitere Ausgabe illustriert). (1320651) (11)Auguste Rodin,1840 Paris – 1917 Meudon“SUZON” BRONZE BUSTHeight: 31.5 cm.“Compagnie des Bronzes” foundry mark on left shoulder, signed “A.RODIN” on the base of the bust, just above the round pedestal which is cast in one piece with the bust. Fine bronze casting, re-chased in cold work, with golden brown patina. The bust, created between 1872 and 1873, is one of the few early works by Rodin at a time, when he was predominantly creating commissions.Literature:Robert Descharnes and J-F. Chabrun, Auguste Rodin, Paris 1967 (further edition illustrated on p. 46).John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia 1976, no.106-2, (further edition illustrated on p. 582).Antoinette Le Normand-Romain, The Bronzes of Rodin. Catalogue of works in the Musée Rodin, vol. II, p. 961 (further edition illustrated).
Lot 72
Jean-Baptiste Carpeaux, 1827 Valenciennes – 1875 CourbevoieLE CHINOIS Höhe: ca. 60 cm. Signatur in kursiver Schrift an der linken Schulter. Gussausführung gestempelt von „SUSSE FRERES EDITEURS / PARIS“ verso unter der Schulter sowie Rund-Prägestempel, um 1920.Terrakottabüste, rötlicher Ton, patiniert. Darstellung eines jungen Chinesen mit langem Zopf, nach dem Modell von 1868. Das Modell dazu wurde vom Künstler 1868 im Auftrag der Stadt Paris geschaffen, für den Brunnen an der Avenue de L´Observatoire, als eine von vier Figuren der vier Erdteile. Zwei der Büsten, Asien und Afrika, wurden nach Modellen junger Menschen gefertigt. Vom Modell wurden mehrere Versionen erstellt – in Höhe von 68 bzw. 37 cm, darüberhinaus in Marmor und Bronze. Die naturalistische Version entstand 1872. Postume Auflagen schufen die Manufaktur Susse-Freres um 1920 für Terrakotta, daneben die Gießerei Adler-Cachet für Bronze. Der Bildhauer war Schüler von Duret und Rude, 1854 wurde er mit dem Prix de Rome ausgezeichnet. Nach Studien in Italien und längerem Romaufenthalt ließ er sich 1862 in Paris nieder, wo er alsbald mit hochrangigen Aufträgen geehrt wurde. Neben der Ausschmückung des Flora-Pavillons im Louvre wird seine Arbeit an der Fassade der Pariser Oper als sein Hauptwerk gesehen. Dalou und Forain zählten zu seinen Schülern. A.R. Literatur: Vgl. Michel Poletti, Alain Richarme, Jean-Baptiste Carpeaux, sculpteur. Catalogue raisonné de l‘oeuvre édité, Paris 2003, S. 122, Nr. 23. Vgl. Édouard Papet, James David Draper, Carpeaux (1827-1875). Un sculpteur pour l'Empire, Ausstellungskatalog, Musée d‘Orsay, 2014, S. 143-151. (1320392) (11)Jean-Baptiste Carpeaux,1827 Valenciennes – 1875 CourbevoieLE CHINOIsHeight: ca. 60 cm. Signature in italics on the left shoulder.Cast version stamped by “SUSSE FRERES EDITEURS / PARIS” on the reverse under the shoulder and round embossed stamp, ca. 1920.Terracotta bust, reddish clay, patinated. Representation of a young Chinese with a long braid, based on the model from 1868, which was created by the artist on behalf of the city of Paris, for the fountain on the Avenue de L'Observatoire, as one of a series of four figures representing each of the four continents.Literature: cf. Michel Poletti, Alain Richarme, Jean-Baptiste Carpeaux sculpteur. Catalogue raisonné de l’oeuvre édité, Paris 2003, p. 122, no. 23.cf. Édouard Papet, James David Draper, Carpeaux (1827-1875). Un sculpteur pour l’Empire, exhibition catalogue, Musée d’Orsay, 2014, pp. 143-151.
Lot 57
Andy Warhol (1928-1987)Queen Elizabeth II, from Reigning Queens (see Feldman & Schellmann IIB.334-337) Unique screenprint in colours, 1985, on Lenox Museum Board, signed and numbered TP 26/30 in pencil, one of 30 colour variant trial proofs aside from the edition of 40 (there were also 10 artist's proofs), printed by Rupert Jasen Smith, New York, with their blindstamp, published by George C.P. Mulder, Amsterdam, the full sheet, in overall very good condition, the colours strong and vibrant, framedSheet 1001 x 799mm. (39 3/8 x 31 1/2in.)Footnotes:ProvenanceBelgravia Gallery, London (with their label).Sotheby's, Old Master, Modern & Contemporary Prints, London, 19 March 2013, Lot 177.Acquired from the above sale by the current owner.In 1985 Warhol produced his largest portfolio Reigning Queens, containing screenprint portraits of the four ruling female monarchs of the day: Queen Elizabeth II, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark and Queen Ntombi Twala of Swaziland. The image of Queen Elizabeth II was based on a photograph taken by Peter Grugeon at Windsor Castle on 2 April 1975 and released to celebrate Her Majesty's Silver Jubilee in 1977. Warhol was fascinated by fame and celebrity. He was the first artist to really comprehend the appeal of celebrity culture and how to harness this appeal to his advantage by producing iconic images of the famous and the glamorous which had an immediate impact and charisma. Warhol's decision to produce an image of the monarch took this up a level. A royal likeness stood apart from other portraits as the ultimate image of fame, celebrity and glamour and was treated with a certain reverence. On the other hand, Warhol was also well aware that this image would be instantly recognizable and attractive to collectors, thereby increasing his own fame by association, notably quoting 'I want to be as famous as The Queen of England'.Having worked as a commercial illustrator, Warhol understood how to present an image to attract attention. He favoured the screenprint process, which produced a precise defined image with hard edges and flat areas of colour, to achieve maximum impact for his radical and glamorous Pop art portraits. The use of this method is pertinent for the Queen as the most depicted woman in the world and indeed the bust length format and vibrant colours call to mind another iconic item of mass production, the postage stamp.Warhol has pared down the original image, removing some of the finer detail which gives character to the face, to leave an inscrutable façade. He has highlighted outlines on areas such as the crown and sash with the Royal Family orders, thus focussing the viewer's attention on the image of Her Majesty as a symbol of royal power; the public face and figurehead of the Royal House of Windsor. In this year of the Platinum Jubilee, we are delighted to be offering a unique version of this screenprint outside the standard edition, which can be regarded as truly iconic, both in subject and within the Warhol repertoire.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 193
AN ENGLISH ~MORTUARY~ HILTED BACKSWORD, SECOND QUARTER OF THE 17TH CENTURYwith broad blade double-edged towards the point, stamped ~Me Fecit Hounsloe~ in a pair of long fullers on each face (areas of pitting), iron hilt comprising langets (restored), vestigial quillon, basket-guard pierced and chiselled at the base with four portrait masks divided by scrolling monsterhead tendrils all within a scaley frame, a further portrait bust at the base of the knuckle-guard, the front and rear guards each bifurcated at the base and joined to the knuckle-guard by a pair of bars, ovoid pommel chiselled with foliage, and spirally moulded fishskin-covered grip78.8 cm; 31 in blade
Lot 393
A LEAD ARMOURED BUST SIGNED DELAGRANGE, 19TH CENTURYwell detailed, with open-faced close helmet, with pointed skull, raised visor with vertical breathes, and bevor ,gorget of a single lame front and back, well detailed leather fastening strap and buckle, extending to the upper chest, with spaudlers, besagews and mail details, signed on the left lower plate53.5 cm; 21 in highProvenance; 1st Earl Mountbatten, thence by descent; Léon-Noël Delagrange ( 1872-1910) was a pupil of Barrias and Vital-Cornu, he was a member of the Sociétaire des Artistes Française and received a commendation in 1901. He was one of the first pioneer aviators and was tragically killed when his Blériot aeroplane, the first to be fitted with the 7-cylinder Gnome Rotary, crashed following a steep turn in January 1910.
Lot 129
A PLASTER BUST OF A 'HEROIC HEAD'BY DOMENICO BRUCCIANI & CO, CIRCA 1900 Numbered to socle 2258 and inscribed to cast reverse "Heroic head British Museum D Brucciani London" 52.5cm high, 29cm wideThis head is based on the original from The Antique, which is in the British Museum. It was found in Ostia in ca. 1795, and came to the British Museum in 1856 via the collection of Samuel Rogers. The head is a Roman copy of a late classical or early Hellenistic original, and probably depicts HermesCondition Report: Losses from wear most notably to nose, eyebrows, right and left shoulder edges and with fritting and other edge losses, dirty- cast marksCondition Report Disclaimer
Lot 15
AFTER THE ANTIQUE, A LARGE BRONZE BUST OF DIONYSUS NAPLES, LATE 19TH CENTURY On a variegated yellow marble socle, cast by Fonderia Sommer and inscribed to the reverse cast 'Fonderia Georgio Sommer Calabritto 2-3 Napoli Made in Italy' , painted in red '26' and '50', 3 daisy marks 67cm high, 43cm wide Provenance: Property from the Kingshott CollectionChristie's London, 'The Opulent Eye - 500 Years: Decorative Arts Europe', 20th September 2012. The original bust was excavated from the ash and lava covered Villa Dei Papiri, on the outskirts of Herculaneum in 1759. It is now housed in the Naples Archaeological Museum and has been previously identified as Plato. Condition Report: Bronze- Generally good- if a little dusty- later painted with numbers and three daisy heads, Base old breaks, restoration and lossesCondition Report Disclaimer
Lot 351
A CARVED, GILDED AND POLYCHROME BUST OF A FEMALE SAINT, POSSIBLY ST LUCY PROBABLY SPANISH COLONIAL, 18TH/19TH CENTURY Depicted with floral crown 41cm high, 29cm wide Condition Report: There are some marks, scratches, knocks, and wear to surface consistent with age and heavy use.Old restorations and repainting to skin and face- making dating difficult- signs of old cracks and possible repair to back of neck- obscured by paint to front, signs of frass from old insect damagePlease refer to additional images for visual references to condition which forms 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
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