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Lot 288A
ANNIE WALKER (1855-1929) - Bust portrait of an Indian beauty, pastel on canvas, painted oval, signed (20¼in x 17¼in, 51.5cm x 43.5cm), also a companion similar, a pair, unframed. Profuse superficial mould, spotting and smudging, but not beyond redemption.Presented to Mr William Rayer (1895-1987) in 1920 by Brig-Gen C H Ruskin CMG DSO (1873-1946) at Shutford Manor.Condition Report: 1st work appears to have quite a lot of rubbing around the edges of the work and also there is sadly marks and some foxing mostly prevalent on the lady with the white shirt top. No tears or repairs are noted. The 2nd work also has marks to it as the surface has had contact to cause the colours to 'run'.
Lot 2059
shaped oval, one side with a portrait bust of a young man in a high collared shirt with epaulettes and with a medal, the other side lobed, the hinged cover reeded and incised with lines75mm highThere are no marks on the silver mounts. There is some overall surface scratching and some very minor chips to the glass, particularly along the bottom edge where the bottle rests. With detachable stopper.
Lot 6
A Small Sealed Wine Bottle, circa 1720, of onion form, the applied seal with moulded bust of a classical gentleman and initialled F/IM14cm highaSome surface iridescence throughout, heavy wear and scratches throughout, the applied seal with a chip to the bottom left corner, reverse J shaped crack, from the rim (see image)
Lot 72
A Wedgwood Black Basalt Bust of John Bunyan, mid 19th century, modelled by E W Wyon, on a circular socle, impressed BUNYAN and WEDGWOOD to the truncation and WEDGWOOD to the base, 35cm highFor the black painted plaster bust by Wyon see Victoria & Albert Museum, accession number WE418/2014Some typical very minor surface wear and scratching, free from any chips, cracks and restoration
Lot 102
A Bois Durci Circular Plaque, 2nd half 19th century, moulded in relief with a bust portrait of JOHN BRIGHT, moulded mark, 11.5cm diameter; A Similar, with BEETHOVEN, moulded marks, 11.5cm diameter; Another Similar, moulded marks, 11cm diameter; Another, with GIUSEPPE GARIBALDI, moulded mark, 11.5cm diameter; Another, with SHAKESPEARE, moulded marks, 11cm diameter; Another, with PIVS IX PONTIFEX MAXIMVS, moulded mark, 11.5cm diameter; and Another, with JESUS CHRIST, moulded marks, gilt metal rim, 11.5cm diameter (7)
Lot 166
Two unmounted hardstone cameos, 19th century1st: Oval, the lava stone cameo carved to depict the bust of a philosopher, in profile, facing left, 2nd: Oval, the carnelian cameo carved to depict the bust of a male youth, in profile, facing left, 2nd: signed Virgilio under the truncation, dimensions: 1st 1.4 x 1.0cm, 2nd 4.2 x 3.0cm (2)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 47
After Antoine Denis Chaudet (French, 1763-1810): A patinated bronze figural group of Belisarius and his Guidethe blinded Byzantine general, holding a staff, clad in classical drapery, seated beside his young crouching guide, on circular naturalistic base, enscribed DATE OBOLUM BELISARIO and signed Chaudet Fecit41.4cm highFootnotes:Antoine Denis Chaudet was a neoclassical sculptor, painter and draughtsman. Formerly a pupil of Jean Baptiste Stouf and Étienne Gois he won the Grand Prix de Rome in 1784 and was sent to the Académie de France in Rome between 1784 and 1788. He became a member of the Academy in 1789 and of the Institute in 1805. As the favourite sculptor of Napoleon he was given the prestigious commission to execute the bronze statue of the Emperor in Roman costume to be installed on top of the column in Place Vendôme as previously he modelled what was to become the official portrait bust of Napoleon in 1799. Many reproductions of this bust were carved in Carrara marble for dispersal throughout the empire and interestingly, Chaudet's bust was apparently regarded as a more favourable likeness than the work by his contemporary Canova. From 1807 onwards, marble busts of Napoleon by both the sculptors were being offered at Elisa Baciocchi's shop at 9 Boulevard des Italiens in Paris where no doubt classical works such as the current lot were also sold.For further information on this lot please visit Bonhams.com
Lot 73
A carved white marble bust of the Medusa Rondaniniafter the antiquethe gorgons face encircled with entwined serpents, her flowing hair flanked by feathered wings, raised on a swept waisted circular socle base, 45.5cm high overallFootnotes:The antique Medusa Rondanini was housed in the Palazzo Rondanini in the late eighteenth century. Discovered in 1786 by Johann Wolfgang von Goethe, he wrote that 'the mere knowledge that such a work could be created and still exists in the world makes me twice the person I was.'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 80
A mid 19th century patinated bronze bust of Dionysusafter the antique, French or Italianmodelled bare shouldered looking downwards slightly to dexter, his curling long hair arranged in a knot to the rear and dressed with a leafy diadem, on circular waisted socle, 25cm high approximately For further information on this lot please visit Bonhams.com
Lot 86
An Italian carved porphyry and sarrancolin bust of a Roman emperor, possibly Galbaprobably late 18th/early 19th centuryhis shoulders typically clad in drapery, his head turned slightly to dexter, the swept socle marble base with inscribed collar IVL.CAESAR 91cm x 64cm, weight 130kg approxThis 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 88
An early 18th century Austrian silver telleruhr timepiece with engraved dragon handJohann Franz Treibler, InnsbruckThe shaped plate surmounted by a large brass suspension ring, the delicate repousse silver mask depicting a bust of a woman surrounded by foliate C-scrolls and swags, with a large rose to each side, screwed to a thicker metal plate supporting the movement's shaped dust cover to the rear. The engraved gilt brass Roman and Arabic chapter ring with floral cruciform half-hour markers, the engraved dragon minute hand with an elaborate knotted hour hand. The spring driven verge movement with four knopped and ringed pillars and a front swinging pendulum with stone set bob, the back plate engraved with a wave border and an elaborate cartouche at the top signed Io Franz Treibler, a similar cartouche at the bottom inscribed Insprvgg. 33.5cms (13ins) wide Footnotes:At least two other telleruhr's are known by Johann Franz Treibler; one is a striking clock and it's mask depicts a much older woman. It is possible the masks were a series representing the seasons; it was fairly common to personify the seasons and tie them to human stages of life; Spring being represented as a fair youth; summer as harvesters in field, autumn as wine makers or imbibers, and Winter as an elder. Another similar telleruhr is held by the Tiroler Landesmuseum in Austria. It is ascribed to Johann Franz Treibler who worked in Innsbruck around 1710/1720.The back of the dial bears practise engraving; 'JO', possibly an 'R' and a '20'. It is likely that the 'JO' refers to the maker, while 20 could be a personal serial number or the date 1720.For further information on this lot please visit Bonhams.com
Lot 1
Brian Johnson signed ACDC 10x8 colour photo. Brian Francis Johnson (born 5 October 1947) is an English singer and songwriter. In 1980, after the death of Bon Scott, he became the third lead singer of the Australian rock band AC/DC. He and the rest of the band were inducted into the Rock and Roll Hall of Fame in 2003. In March 2016, he temporarily stepped away from the band during the Rock or Bust World Tour due to hearing problems. In September 2020, AC/DC officially confirmed that Johnson along with fellow band-mates Phil Rudd and Cliff Williams had returned in August 2018 to record the band's 2020 album, Power Up. Good condition Est.
Lot 48
Circle of FEDERICO DE MADRAZO Y KUNTZ (Rome, 1815 - Madrid, 1894)."Portrait of a Knight belonging to the Order of Santiago", c. 1850.Oil on canvas. It presents slight jumps in the painting.Measurements: 101 x 82 cm; 140 x 100 cm (frame).Oval portrait whose protagonist is shown to the spectator through a long bust, and very slightly turned because in spite of his posture, his rigidity stands out, which seems to give him a certain frontality with respect to the spectator. The most notable feature of his figure is his clothing, where we can see the large cross that indicates his membership of the order of Santiago. Proud of his rank, he wears a white cloak which highlights the vermilion of his cross and therefore his social status. A characteristic - In this portrait, as in the rest of Federico de Madrazo's work, the artist emphasises the personality of the sitter, carrying out a psychological study of the model. He applied a short, precise brushstroke to the drawing, bringing luminosity to the flesh tones.The son of the painter José de Madrazo, who was also in Rome serving Charles IV in exile, Federico de Madrazo moved with his family to Madrid when his father was appointed court painter to Ferdinand VII in 1819. Shortly afterwards the Royal Museum of Paintings was inaugurated, an institution that was to play a key role in Federico de Madrazo's life. During his childhood and youth he visited it frequently with his father, who was in fact responsible for the museum's lithographic establishment from 1826 and its director from 1838 to 1857. A precocious painter, Federico de Madrazo joined the San Fernando Royal Academy of Fine Arts as an academician of merit at the age of sixteen. During his youth he founded the magazine "El Artista" with his brother Pedro, which was an important Romantic novelty and in which Federico was responsible for the illustrations. In 1832 he took a scholarship to Paris to study painting with Ingres, a friend of his father's. There he acquired a Romantic style in the style of his father. There he acquired a romantic style in the French manner. In 1840 he continued his training in Rome, where he came into contact with the Nazarenes and in particular with Overbeck, which strengthened his drawing skills, already important in his style thanks to what he had learned from his father and Ingres. An illustrative work of this Nazarene influence on Madrazo is Las Marías en el sepulcro ("The Marys at the Sepulchre"). Two years later he returned to Spain, having become a painter of great prestige, much sought after as a portraitist by the Madrid aristocracy. He was Queen Isabella II's court painter and was the great official portraitist of the time. His portraits were characterised by the simplicity and naturalness of his models, and by a distant serenity, intimately linked to Romantic sentiment. He was also director of the Museo del Prado, a post he held, albeit on an interrupted basis, for thirty years until his death. He also directed the San Fernando Royal Academy of Fine Arts. He had a brilliant career as a history painter and, especially, as a portraitist, achieving great prestige in the artistic circles not only of Madrid but also of Paris and Rome. His production evolved from a painting dominated by purism of line and painstaking detail towards a more fluid and spontaneous technique, with greater expressive depth. Federico de Madrazo is currently represented in the Museo del Prado, the Museo Nacional del Palacio de Versalles, the Museo de Bellas Artes in Bilbao, the Fundación Lázaro Galdiano and the Museo Romántico in Madrid, among others.
Lot 44
An Italian carved white marble bust of a faunessprobably Roman, late 18th / early 19th century, the model after the antique and in the manner of Luigi Valadier (Italian, 1726-1785)the young bare shouldered nymph looking to dexter with smiling open mouth and blank eyes, her hair arranged in a wavy chignon, with rusticated back, above a vacant tablet, on a waisted circular socle, 42cm high Footnotes:The offered lot is a marble copy, after the antique, taken from a little known group of 'Nymph and Satyr' now in the Vatican reserve collection. The subject, paired with a pendant of the 'Albani Faun' (now in the Munich Glyptothek) is known to have likely been cast in bronze by the Italian bronze goldsmith bronze work, Luigi Valadier in the third quarter of the 18th century.The original antique figure of the 'Fauness' seems to have become known after Clement XIV purchased it from the English dealer Thomas Jenkins. However whilst the 'Faun' became widely reproduced in many sizes, the 'Fauness' appears to have been less popular.The Valadier workshop is known to have listed numerous busts of 'Fauns' in its workshop Registro as late as 1810, including some which were specifically listed as 'Fauno di Villa Albani' although none can be clearly identified as the Vatican derived 'Fauness'. However, examples of other known Valadier bronze busts utilising near identical variegated marble socles as the ones used for a pair of bronze busts of the Albani Faun and his Vatican Fauness certainly suggest that Valadier may well have produced this particular pair of bronze busts. This suggestion is similarly enforced with the composition as the 'Fauness' is purposefully modelled to looks upwards towards the 'Faun'. Luigi Valadier is known to have restored and reworked ancient Roman art and architecture and antique sculptures, cameos, architectural details whilst the ruins of ancient monuments also served as inspiration for his own works which included candelabra, tableware, altars and centrepieces in both silver, bronze, marbles and semi-precious stones. Uncommonly for the time he produced works of all sizes from large altar pieces to intricate pieces of small jewelleryFor a comparable pair of attributable bronze busts after the antique and in the manner of Luigi Valadier depicting a Fauness and her male companion, after the Albani Faun, see Trinity Fine Art, Exhibition of European Sculpture & Works of Art, catalogue, 2004, p. 46.For further information on this lot please visit Bonhams.com
Lot 59
A pair of Empire giltwood fauteuils by Georges Jacob (1739-1814) and Francois-Honoré-Georges Jacob (1770-1841), a partnership often referred to as 'Jacob-Desmalter'1810-1815Each with a square back and flute-channelled surrounds, the arm supports and front legs comprised of two winged lion bust monopodiae each with upscrolled wings terminating in animalistic legs and lion paw feet, with a plain bowed seat frame, on splayed and scrolled square section rear legs, each fauteuil stamped: 'INV.e' within a tablet surround (the 'INVe' almost certainly standing for 'INVENTAIRE'), one fauteuil also with the now partially obscured stamp: 'JACOB D.R. MESLEE', each approximately: 79cm wide x 74cm deep x 102cm high, (31in wide x 29in deep x 40in high) (2)Footnotes:Provenance Purchased Koller, Zurich, 16 September 1994, Collection Dino Fabbri, Paris, lot 583.A related pair of Empire armchairs by Jacob-Desmalter sold Christie's, London, 7 July 2005, Important European Furniture, lot 449. These latter examples incorporate similar winged lions, albeit in the form of self-contained figural arm supports rather than the larger winged lion busts terminating in monopodiae as on the offered lot. However it is notable that the upwards scrolling element of the wing tips on all of these carved winged lions are certainly closely comparable. Another fauteuil with this same self-contained figural winged lion arm support is the Imperial example made in 1804 by Jacob-Desmalter for Napoleon's Throne Room at the Palais de Tuileries, which sold Sotheby's, London, 7 July 2009, Important Furniture, lot 66. The bold carving of the wings with their up-scrolled tips on the present chairs also recall the sphinx supports on a suite of seat furniture, which includes six fauteuils, supplied by Jacob-Desmalter for the Chambre à Coucher of Empress Joséphine in 1809. These are now located in the Chambre de la Reine des Belges at the Grand Trianon, which was redecorated by Louis-Philippe in 1845, D. Ledoux-Lebard, Le Grand Trianon, Paris, 1975, p. 186. This set is illustrated in P. Arizzoli-Clementel & J-P. Samoyault, Le Mobilier de Versailles, Chefs-D'Ouevre du XIXeme Siecle, 2009, Dijon, fig. 58, pp.'s 186-189.Included among the four Imperial thrones made by the Jacob-Desmalter partnership, on behalf of Napoleon for various politically significant locations, is the one supplied to the Palais du Corps Legislatif in Paris (now the Assemblee Nationale). This particular throne chair, which is housed today at the Parisian Musee des Arts Decoratifs, was executed circa 1805 by Jacob-Desmalter following designs by Bernard Poyet. Its massive winged lion bust supports terminating in monopodiae are arguably closer in both spirit and proportions to those on the offered model than any of the previously referenced versions. The three other thrones are located at Fontainebleu, the Palais des Tuileries and the Senate, inside Luxembourg Palace. However the throne provided by Jacob-Desmalter for the Senate employs again the distinctive up-scrolling to the wing tips of its sphinx supports which are evident on most of the former comparables, but is nonetheless a feature notably absent from the Corps Legislatif example. 'Jacob-Desmalter'Georges Jacob (1739-1814), renowned cabinet maker active during the late 18th century, sold his business in 1796 to his two sons, who then renamed the firm Jacob Freres. The Jacob brothers, Georges II (1768-1803) and Francois-Honore-George, produced furniture directly inspired by Greek, Etruscan and Roman antiquity following the fashionable Neoclassical taste of the period established by Charles Percier and Pierre Fontaine in their 1801 publication, Recueil des Decorations Interieures.Francois-Honore-Georges, who added Desmalter to his family surname in 1803, provided over 330 pieces for Napoleon including most importantly the imperial throne in advance of Napoleon's coronation, which took place the following year. Throughout the reign of Napoleon (1804-15), Jacob-Desmalter was the predominant and favoured cabinet maker to the Imperial Garde-Meuble, responsible for supplying furnishings at Fontainebleau, Grand Trianon, Saint Cloud, Rambouillet and of course the Tuileries. In fact, it is noted in D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, that between 1803 and 1813, the cost of works produced by Jacob-Desmalter for the Palais des Tuileries alone amounted to 541,765 Francs.The stamp found on the present lot, 'JACOB.D.R.MESLEE', is one recorded as being used during the period 1803-1813 by the unique 'Jacob-Desmalter' combination of François-Honoré-Georges Jacob-Desmalter and Georges Jacob, D. Ledoux-Lebard, Ibid, p.268.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
Lot 64
A pair of Restauration giltwood fauteuils by Pierre-Antoine Bellangé (1758-1827) or Louis-Alexandre Bellangé (1799-1863)1815-1820Each with a scrolled dished top and an opposing volute scroll, anthemion and acanthus spray toprail centred by a flowerhead, the bowed seat frame with similar decoration centred by an elongated scrolled tablet, with lotus-leaf clasped and scroll capped arm supports, on two acanthus and stiff-leaf wrapped lion-bust headed monopodiae terminating in animalistic legs and lion paw feet, with splayed square section rear legs, each side applied with scrolled stylised foliage interspersed with anthemia and paterae, each fauteuil stamped: 'L.BELLANGE' and one fauteuil stamped: 'CH', approximately: 71cm wide x 72cm deep x 100cm high, (27 1/2in wide x 28in deep x 39in high) (2)Footnotes:Provenance Purchased Koller, Zürich, September 2005, Collection Dino Fabbri, Monte Carlo, lot 1276. An identical pair of fauteuils, which along with the offered lot, likely formed part of an extensive set apparently made by the cabinet maker Louis-Alexandre Bellangé, sold Christie's, London, 23 March 2017, Robert de Balkany Rome and the Cote d'Azur, lot 494. Both pairs have the same 'L. BELLANGE' and 'CH' stamps which prove that they were originally from the same commission. The Christie's armchairs previously belonged to Aladar Zellinger de Balkany (1900-1983), and passed thence by descent.A further pair of fauteuils of this same type were offered, together with a matching sofa, Sothebys, Paris, 23 June 2021, Important Mobilier, lot 156. However, interestingly these Paris examples were attributed to the workshop of Pierre-Antoine Bellangé, who was the father of Louis-Alexandre.The design for the present armchairs is based upon a watercolour entitled 'Deux Projets de Fauteuils' (1817-1820), bearing the signature of Louis-Alexandre Bellangé. It forms part of a collection of illustrations, taken from 'l'Atelier Bellangé', which are at the Metropolitan Museum of Art in New York, S. Cordier, Bellangé, Ebenistes: une Histoire du Gout au XIX Siecle, 2012, Paris, fig. 4. However the antecedent, which incorporates similar lion monopodia to those of the above, was one of a number of drawings for related seat furniture and tables which first appeared in Charles Percier and Pierre-Francois Leonard Fontaine, Recueil de Decorations Interieures, originally published in 1812. It is notable that these Percier and Fontaine examples had in fact been sourced themselves from antiquity.Another closely related design for fauteuils, one attributable to Pierre-Antoine Bellangé (Louis-Alexandre's father), was executed during the period 1815-1820 and corresponds well with a set of chairs and sofas supplied to the Comtesse du Cayla for the Chateau of Saint-Ouen of Zoe, Ibid, p. 489, PAB107. This strong association or interrelationship between father and son implies that at an early stage the much younger figure of Louis-Alexandre must have undertaken a thorough analysis of his father's oeuvre.Indeed between 1820 and 1825, towards the end of their contractual arrangement during their co-operation based at the family workshop on Rue Neuve-Saint-Denise, various pieces of seat furniture made at this time are either stamped: 'L. BELLANGE', such as appear on the offered lot, or: 'P. BELLANGE'. Some of the models that have the 'L. BELLANGE' stamp feature in Ibid, p. 500, LAB1 and a pair of such fauteuils also sold Sotheby's, New York, 25-26 October 2007, Ariane Dandois Collection, lot 523.Furthermore, an assortment of designs dating to circa 1818, which were completed by Louis-Alexandre, are today with the Metropolitan Museum in New York. Interestingly this particular portfolio even includes an engraved plate depicting a near conforming armchair to the present ones, which was itself evidently made in Pierre-Antoine's workshop at some point during 1815-1820.Pierre-Antoine Bellangé became maitre in 1788. But despite working as a cabinet maker throughout the Revolution (1789-1799), it appears that his career really flourished during the Empire period and the initial part of the Restauration, or restoration of the monarchy. Pierre-Antoine developed into one of the principal suppliers of furniture to Napoleon and also to those closest to the Emperor, before in due course serving as cabinet maker to the Garde-Meuble de la Couronne (basically the Royal furniture repository) during the reign of Louis XVIII.Louis-Alexandre Bellangé, who ran his own atelier and shop at 33 Rue des Marais-Saint-Martin, established himself and his firm as specialist in the production of furniture incorporating porcelain, lacquer and hardstones, as well as Boulle-inspired pieces. In 1833 he tried unsuccessfully to get a place at the Garde-Meuble de la Couronne restoring earlier works. However, disappointment at this rejection must have been tempered by his subsequent appointment as a supplier to the Duc d'Orléans. His gold medal-winning contribution to the Paris exhibition of 1839 won him significant praise from the jury at that event. Although fairly early on in his career Louis-Alexandre supplied furniture to Charles X, subsequently at the 1844 Exposition des Produits de l'Industrie Française Louis-Philippe (when King) acquired a Boulle table from the illustrious cabinet maker. Later on, at the 1851 Great Exhibition, he was awarded a second class medal for the Boulle objects his firm had produced for Crystal Palace. Examples of his oeuvre, made either independently or in collaboration with his father, may be found in the Wallace Collection, London and in the collection of Her Majesty the Queen at Windsor Castle.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
Lot 74
Jean-Baptiste Auguste Clésinger (French, 1814 -1883: A bronze group entitled 'Jeunesse de Bacchus'the young Bacchic putto seated on a striding jaguar, the rectangular base inscribed, signed and dated JEUNESSE DE BACCHUS, J CLESINGER. Rome. 1869 with Bronze Artistique de Paris pastille mark, brown patina, 44.2cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 23 November 1990, 19th Century Sculpture, lot 90.This present lot is a reduction in bronze of the marble group in the Museum of Versailles which was exhibited at the centennial exhibition of French Art in 1900, originally executed in 1868 in white marble and in grey marble the following year. It is one of only two known models by Clésinger cast by the Marnyhac foundry, the larger edition being produced by Clésinger's usual foundry, Barbedienne.Clésinger first studied under his father, the artist George Philippe before continuing his studies under Bertel Thorwaldsen in Rome and David D'Angers in Paris. He began exhibiting in the Salon in 1843 making his debut with a bust of Viscomte jules de Valdon. In his lifetime he was commissioned to do many public monuments including the bust of Liberty on the Champs de Mars and he was created an Officer of the Legion of Honour in 1884.For further information on this lot please visit Bonhams.com
Lot 89
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
Lot 313
COLLECTION OF 16 GOLD KRUGERRANDSThe obverse with the bust of Kruger and the reverse with Springbok, the dates being 1978 (3), 1979 (9), 1984 (4). Extremely fine. (16)This lot is subject to the following lot symbols: GG Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer's Premium.For further information on this lot please visit Bonhams.com
![English School 17th Century-Portrait of Lady Anne Clifford, Countess of Dorset [1590-1676],:-bust-length, wearing a lace coll](https://cdn.globalauctionplatform.com/76689ac6-356f-471e-a241-aeb700a7151f/ffe222b3-911f-401f-bc36-aeba00edd17f/468x382.jpg)
Lot 936
Roman Imperial Coinage, Hadrian, As or Dupondius, 119-20, laureate bust right, drapery on far shoulder, rev. Britannia seated left, head facing, foot on rock, resting head on hand and holding sceptre, elbow resting on large shield, SC in field, britannia in exergue, 7.14g (RIC 242; BMC 1175; S 635; RCV 3676). Some edge irregularities, good fine with dark patina, rare £150-£200
Lot 938
Roman Imperial Coinage, Hadrian, Denarius, 119-23, laureate bust right, ægis on far shoulder, rev. Concord seated left on high-backed throne, holding patera, concord in exergue, 3.26g (RIC 549 var; RSC 255; cf. RCV 3465). Light scratch on neck, good fine or better, the variety rare £80-£100 --- Provenance: Bt C.J. Martin February 1999
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