Half shield coin of Carlos III, 1786, Madrid mint.Gold of 0,875 thousandths.Weight: 1,72 grams.Measures: 15 mm diameter.On the obverse bust facing right with the legend CAROL.III.D.G.HISP.R. On the reverse, the shield crowned with castles and lions. EBC conservation status.Carlos III of Spain, “El Politico”, (Madrid, 1716-1788), was King of Spain from 1759 until his death in 1788, King of Naples and Sicily, and Duke of Parma and Plasencia. He stood out in his attempt to modernize society under enlightened reforms and programs. Promoting, among other things, the development of art and crafts. It was involved in conflicts such as the Seven Years' War, to stop British expansionism for the American colonies, or the United States War of Independence. His death coincided with the almost immediate French Revolution (1789). Reason why his son and successor monarch, Carlos IV, continued with a more conservative and unstable reign.
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One 0.900 thousandth silver dollar coin of the United States of America, type "Morgan" of 1897. On the obverse, crowned bust of the "Morgan" type with legend, E P LURIBUS UNUM 1897. On the reverse, symbol of the USA with legend UNITED ESTATES OF AMERICA, In god me trust.Measures: 38,1 mm. (diameter).Weight: 26,73 grs. silver.
Coin of 5 pesetas of Alfonso XIII, 1898.Silver of 0,900 thousandth.Measures: 37 mm diameter.Weight: 25 grs.Spanish coin in sterling silver with a nominal value of 5 pesetas, minted under the mandate of Alfonso XIII, EBC state, 1898 with star 98. Alfonso XIII of Spain, called "the African" was King of Spain from his birth until the proclamation of the Second Spanish Republic on April 14, 1931. He assumed effective power at sixteen years of age, on May 17, 1902. On the obverse, bust of Alfonso XIII with legend, ALFONSO XIII POR LA GRACIA DE DIOS. On the reverse, the coat of arms of Spain with the legend REY CONST DE ESPAÑA.
NO RESERVE Lawrence of Arabia and General Gordon.- Morris (R.J.) Bust of General Charles George Gordon (1833-1885), Parian ware, inscribed 'Gordon' verso with sculptor's name, height 265 mm (10 1/2 in), [c. 1885]; together with a commemorative plaster cast profile portrait of Colonel T. E. Lawrence, inscribed 'Lawrence' with dates '88-1935, and further inscribed 'Copyright' on the underside, 265 x 180 mm (10 1/2 x 7 1/8 in), [circa 1935] (2)⁂ Gordon served in the Crimean War, and later China where he was given the nickname "Chinese Gordon", and received honours from both the Emperor of China and the British.
TRIFARI Brosche 'Mädchen' mit Glas- und Strasssteinen, Sterling Silber, 1940er-50erJahre, Design von Alfred Philippe, Kopf aus blauem Glasstein, Brust mit Strasssteinen, ca. 4.4 x 3.2 cm, ca. 13.5 g, sign. und mit PatentnummerTRIFARI brooch 'girl' with glass- and rhine stones , Sterling silver, 1940/50s, design of Alfred Philippe, head made of blue glassstone, bust with rhine stones, approx. 4.4 x 3.2 cm, approx. 13.5 g, signed and with Patent number
Silver G.B pre 1947 Coinage.Comprising:5/- (x2): 1935 "Rocking Horse" (x2)2/- (x1): 1926 VF-NEF grade original bust6d (x16): All are in EF to Unc grade: 1926 original bust - 1930, 1931, 1932, 1933, 1935, 1938, 1937, 1938, 1939, 1940, 1942, 1944, 1945, 1946.Pre 1947 coinage £1.15 face value of 6d, 1/-, 2/- and 2/6d coins.3d (x29): Mixed dates and conditions.
A collection of antiquities and later objects of interest, to include a black stone polished axehead, circa 3000BC, from near Lake Chad, South Sahara, 6cm; a Cunieform clay tablet and tablet sherd, 4cm & 3.4cm; an Ashante bronze gold weight, modelled as a man scraping bark from a tree, 5.8cm; a further Ashante figural gold weight, 7.3cm, a Burmese Hintha/Hamsa duck weight, 6.5cm, a small bronze weight cast as an elephant on stepped base, 2.5cm; a Persian clay relief moulded panel, 10.5 x 8.6cm; a collection of flint arrow heads and other flint tool, a lump of meteorite, a fossilised ammonite, a 17th century pewter spoon, the bowl with touchmarks; a bronze Merchant Taylor School nmedal, 1875; and an obsidian bust of an Aztec, 8cmAll from a private Bedfordshire collection.The axe head purchased from The Ancient World (Bernard C Pickard) in 1973.The Ashante gold weight of the man and tree purchased from BA Seaby Ltd in 1981A note states the origins of the flint axeheads and tools as derived from the Gunnersbury Museum, Cissbury Hill Fort in Essex and Brettenham in Norfolk.
Auguste Rodin, 1840 Paris – 1917 MeudonBUSTE DE SUZON (TAILLE NO. 5)Höhe: 32 cm. Unter Büstenausschnitt signiert „A. RODIN. Cie des Bronzes, Bruxelles“. Brüssel, 1875-1910.Bronzeguss, braun patiniert. Über profiliertem Standring nach links gewandter Kopf einer jungen Frau mit Medaillon und zu einer Schleife gebundenem Haarband. Verso Sockel mit kleinen Kratzern.Literatur: Vgl. Artur E. Elsen, Rodin, New York 1963, S. 206. Vgl. Robert Descharnes und Jean-Francois Chabrun, Auguste Rodin, Paris 1967, S. 46. Vgl. Ionel H. Jianou, Cécile Goldscheider, Rodin, Paris 1967, S. 85. Vgl. John L. Tancock, The Sculpture of Auguste Rodin. The Collection of the Rodin Museum Philadelphia, Philadelphia, 1976, S. 581, Nr. 106-2. Vgl. Cécile Goldscheider, Auguste Rodin. Catalogue raisonné de l‘oeuvre sculpté, Paris 1989, Bd. I, S. 84, Nr. 64. Vgl. Artur E. Elsen, Rodin‘s Art. The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York 2003, S. 447, Nr. 129. Vgl. Antoinette Le Normand-Romain, Rodin et le bronze. Catalogue des oeuvres conservées au Musée Rodin, Paris 2007, Bd. II, S. 662-665, Nr. S. 961. (13005516) (13)Auguste Rodin,1840 Paris – 1917 MeudonBUSTE DE SUZON (TAILLE NO. 5)Height: 32 cm.Signed under bust “A. RODIN. Cie des Bronzes, Bruxelles”.Brussels, 1875-1910.Bronze casting, brown patina. Literature:cf. Artur E. Elsen, Rodin, New York 1963, p. 206.cf. Robert Descharnes and Jean-Francois Chabrun, Auguste Rodin, Paris 1967, p. 46.cf. Ionel Jianou and Cécile Goldscheider, Rodin, Paris 1967, p. 85.cf. John L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum Philadelphia, Philadelphia 1976, p. 581, no. 106-2.cf. Cécile Goldscheider, Auguste Rodin, Catalogue raisonné de l’oeuvre sculpté, Paris 1989, vol. I, p. 84, no. 64.cf. Artur E. Elsen, Rodin’s Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, New York 2003, p. 447, no. 129.cf. Antoinette Le Normand-Romain, Rodin et le bronze, Catalogue des oeuvres conservées au Musée Rodin, Paris 2007, vol. II, p. 662-665, no. p. 961.
Große Büste der Athena aus rotem PorphyrHöhe der Skulptur auf Eisensockel: 108 cm. Dazu weiterer hoher Eisensockel: 108 cm.Die Göttin in antikem Gewand mit Helm, auf dem zwei Widderköpfe zu sehen sind, auf ihrem gewellten Haar. Montiert auf einen flachen Eisensockel, dazugehörig passender großer Eisensockel. Nase leicht best. (1300501) (18)Large red porhyry bust of Athena Height of sculpture on iron base: 108 cm. With a further tall iron base: 108 cm.
Francesco Laurana, um 1430 – um 1500, zug. PORTRAIT EINES HERREN Höhe: 43 cm. Breite: 27,5 cm. Tiefe: 21,5 cm.In Carrara-Marmor gearbeitet. Laurana war gebürtiger Kroate, jedoch vorwiegend in Italien tätig, wo er 1455 in Neapel erstmals in Erscheinung trat. Er war später von 1467-1472 in Sizilien tätig, wo er sich auf Portraitbüsten spezialisierte. Das hier angebotene Exemplar ist wahrscheinlich eine solche, diesem Künstler zuzuschreibende Portraitbüste.Literatur: Vgl. Hanno-Walter Kruft, Francesco Laurana. Ein Bildhauer der Frührenaissance, München 1995. (1290471) (13)Francesco Laurana, ca. 1430 – ca. 1500, attributedPORTRAIT OF A GENTLEMANHeight: 43 cm. Width: 27.5 cm. Depth: 21.5 cm.Carrara marble. Laurana originated from Croatia, but was mainly active in Italy, where he is first recorded in Naples in 1455. He later worked in Sicily between 1467 and 1472, where he specialized in portrait busts. The example on offer for sale in this lot is probably such a portrait bust, attributed to this artist.Literature:cf. Hanno-Walter Kruft, Francesco Laurana. Ein Bildhauer der Frührenaissance, Munich 1995.
Auguste Rodin, 1840 Paris – 1917 MeudonBÜSTE „VICTOR HUGO“ Höhe: 39 cm. Sockelbreite: 13,7 cm. Die Büste zeigt an der linken Seite unter der Schulter eine mitgegossene Ritzsignatur. Der Schriftzug entspricht demjenigen von Rodins „Denker“. An der Rückseite die Gießerbezeichnung: „ALEXIS RUDIER / FONDEUR PARIS“. Im Sockelinneren erhaben gegossene Künstlerbezeichnung „A. Rodin“ in Kursiv.Beigegeben Zertifikat Comité Auguste Rodin, bestätigend, dass das vorliegende Objekt in den Catalogue raisonné aufgenommen wird.Hohlguss, schwarz glänzend patiniert. Bronze, nach Modell von Rodin, mit Gießerbezeichnung „Rudier“, in Einheit mit dem vierseitigen, getreppten Sockel. Die erste Fassung des Büstenbildnisses von Victor Hugo (1802-1885) schuf Rodin 1896 als Gipsmodell in größeren Abmessungen (Höhe: 73,5 cm. Breite: 59 cm. Tiefe: 57 cm.). Diese Urfassung zeigte den berühmten Literaten unbekleidet in Halbfigur, die Arme angeschnitten, der Kopf nach rechts geneigt. Zunächst nicht als Einzelfigur geplant, sondern in einem Szenenzusammenhang mit dem Entwurf für ein Denkmal, beauftragt von der „Société des gens de lettres“. In der Folge entstanden Ausführungen in verkleinertem Maßstab, jeweils mit einem impressionistisch kühn um die Vorderseite gelegten Mantelkragen, wie hier in der vorliegenden Version. Der bärtige Kopf ist nun in gerader Haltung gebracht, noch immer in Abhängigkeit von der ersten Fassung. Es wurden mehrere Abformungen geschaffen, z. T. ohne Sockel, oder montiert auf runden Marmorsockel bzw. wie hier auf mitgegossenem Vierseitsockel, jeweils in verschiedenen Materialien, wie Steinguss, Ton oder unterschiedlich patinierter Bronze. Alexis Rudier (gest. 1897) und dessen Sohn Eugéne (1875-1952) waren mit den Güssen von Werken bedeutender Bildhauer betraut, wie Rodin, Miklos, Maillol, Daumier oder Bourdelle. Rodin gilt als der wohl wichtigste Wegbereiter der modernen Plastik. Sein vielfach aufgelegtes Werk in Bronzegüssen dokumentiert, wie hier die vorliegende Büste seine große Bedeutung. Literatur: Dieter Brunner, Annette Ludwig (Hrsg.), Die obere Hälfte. Die Büste seit Auguste Rodin, Katalog zur gleichnamigen Ausstellung, Städtische Museen Heilbronn, 9. Juli-9. Oktober 2005; Kunsthalle in Emden, 22. Oktober 2005-15. Januar 2006; Museum Liner Appenzell, 29. Januar-23. April 2006, Heidelberg 2005. P.P. Dupont, C. Huberty, Les fonderies de bronzes, 1990. (1301304) (11)Auguste Rodin,1840 Paris – 1917 Meudon“Victor Hugo” bustHeight: 39 cm. Width of base: 13.7 cm. The bust shows an incised signature cast within the plinth on the left side under the shoulder. The lettering corresponds to that of Rodin’s “Thinker”. On the back the foundry inscription: “ALEXIS RUDIER / FONDEUR PARIS”. Inside the base the artist’s name “A. Rodin” cast in raised italics.Enclosed a copy of Certificate by the Comité Auguste Rodin, confirming the object will be included in the catalogue raisonné.Literature: Dieter Brunner, Annette Ludwig (ed.), Die obere Hälfte. Die Büste seit Auguste Rodin, catalogue for the exhibition of the same name, Städtische Museen Heilbronn, 9 July-9 October 2005; Kunsthalle in Emden, 22 October 2005-15 January 2006; Museum Liner Appenzell, 29 January-23 April 2006, Heidelberg 2005. P.P. Dupont, C. Huberty, Les fonderies de bronzes, 1990.
Pablo Picasso, 1881 Málaga – 1973 MouginsBUSTE DE FEMME Tuschzeichnung. 33,5 x 56,5 cm. Hinter Glas in vergoldetem Rahmen.Beigegeben eine handschriftliche Echtheitsbestätigung des Sohnes und Nachlassverwalters Claude Ruiz-Picasso auf Foto vom 21. September 2015. Tuschzeichnung mit handschriftlicher Widmung von Pablo Picassos an „Monsieur Georges Huguet“. Ferner mit Signatur „Je le peint de -Picasso“. Auf dem chamoisfarbenen Karton mehrere braune Schnipsel von Packklebestreifen. A.R.Anmerkung: 1957 schuf Picasso ein Litho-Poster in einer Auflage von 55 Originalexemplaren, mit Portrait von Manolo Huguet, den spanischen Bildhauer und Freund Picassos, gedruckt im Atelier Mourlot, anlässlich der Ausstellung im Musée D‘Art Moderne in Céret, Frankreich. Darüber hinaus fertigte Picasso ein weiteres Lithografie-Kopfbildnis „Huguet, Georges; Non vouloir“. Bei Georges Huguet handelt es sich wohl um den surrealistischen Autor, der am 25. Juni 2019 verschied. (1300555) (11)Pablo Picasso,1881 Málaga – 1973 MouginsBUST OF A WOMANInk drawing.33.5 x 56.5 cm.Handwritten certificate of authenticity by the son and executor of the estate Claude Ruiz-Picasso on photo dated 21 September 2015 is enclosed. Ink drawing with handwritten dedication by Pablo Picasso to “Monsieur Georges Huguet”. Also signed “Je le peint de -Picasso”. Several snippets of brown packing tape on the chamois-coloured cardboard.Notes:In 1957 Picasso created a limited edition lithograph poster of 55 originals, with a portrait of Manolo Huguet, the Spanish sculptor and his friend, printed by Atelier Mourlot for the exhibition at the Musée D’Art Moderne in Céret, France. In addition, Picasso made another lithograph head portrait “Huguet, Georges; Non vouloir”.
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Madge signed vertically 'JJSHANNON' (upper left), dated '1886' (upper left to upper right), inscribed vertically 'MADGE' (upper right)oil on canvas36.8 x 43.2cm (14 1/2 x 17in).Footnotes:ProvenanceF. H. Woodroffe.Christie, Manson, and Woods, 28 June 1907, The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., Lot 50 (sold for 130 gns).William Permain (acquired from the above sale).Mrs. J. M. Hanbury, Hylands House, Chelmsford.Christie, Manson, and Woods, 20 November 1964, Lot. 50.With The Fine Art Society Ltd., London.The collection of George and Sonia Segal, USA.ExhibitedLondon, Institute of Painters in Oil Colours, 1885/86, no. 136.London, New English Art Club, 1886, no. 50.Despite the relatively small scale of this simple, yet arresting image, Madge garnered a modicum of critical note when it was shown at two London venues – the Institute of Painters in Oil Colours and the New English Art Club. Although works by the young American-born James Jebusa Shannon had been sporadically exhibited since his 1881 debut at the Royal Academy when he was still a student at the South Kensington School (now the Royal College of Art), 1886 may be considered the breakthrough year in his bid for professional recognition. Indeed, Shannon's paintings could be seen at each major exhibition venue in London throughout that season.Madge stands in contrast to the formal, commissioned portraiture that Shannon usually sent to the Royal Academy and the Grosvenor Gallery. Instead, this and another works of its type (for instance, Estelle, 1886, sold Bonhams, London, 13 July, 2011, Lot 175) were intended to showcase different aspects of Shannon's painterly talent. Here the artist depicts the head and shoulders of a distinct individual whose name provides the painting's title; yet the identity of the sitter is of no matter.Madge confirms Shannon's desire to align his art with what was sometimes called the 'Anglo-French' style, a progressive mode associated with painting techniques inspired by the 'square' brushstrokes of the innovative French artist Jules Bastien-Lepage (1848-1884). The bust-length profile of the young woman is set against a pale, scumbled ground, the rough surface of which is inscribed with the title, artist's name, and date, written in the block-letter manner characteristic of Bastien-Lepage and his followers. The figure's costume reveals Shannon's ambition to demonstrate his facility in defining form using a limited palette of blacks, a practice often employed by fin-de-siècle painters who emulated the art of the Spanish master Velázquez in that respect. The textured, irregular contour of the figure is relieved by the smoothly rendered face in which the warm reds of her cheeks and lips offer the only spots of bright colour. The sitter's olive skin and the prominent fringe of dark hair that signals her adoption of a less carefully coiffed version of the style that had recently come into vogue lend a somewhat exotic impression to the image. In all, the painting possesses an unusual degree of sensuality and conveys a vague hint of the Bohemian lifestyle that Shannon enjoyed at this early stage of his career.In view of the date inscribed on the painting, it is curious that the first critical notice for Madge appeared in December 1885, when a reviewer of the recently opened exhibition of the Institute of Painters in Oil Colours remarked that among the works not to be missed was 'the little head called 'Madge' (136) by Mr. J. J. Shannon, a young artist of ability, who is likely to do very good work in days to come.'1 (This discrepancy points to the possibility that the date was a slightly later addition.) A second critic mentioned the 'clever study of a girl's head, 'Madge' (136), by Mr. J. J. Shannon, whose name is new to me.'2 Just a few months later, the painting again earned mention when it was included in the inaugural exhibition of the New English Art Club, with one writer stating that 'Mr. J. J. Shannon's 'Madge' merits a word of praise.'3Madge was presumably purchased by F. H. Woodroffe directly from the artist and the painting received no further mention until the estate sale of a portion of Woodroffe's collection in 1907 from which it was bought for 130 guineas by the London art dealer William Permain.4 The painting was later owned by Mrs. John (Christine) Hanbury, a director of Truman, Hanbury, and Buxton brewers, and sold by her executors in 1964.5 1'Institute of Painters in Oil Colours', Times, 2 December, 1885. p. 8.2'The Royal Institute', Truth, 24 December, 1885, p. 19.3'Picture Shows', Truth, 15 April, 1886. p. 19.4See Christie, Manson, and Woods advertisement for the June 28, 1907, sale of 'The Choice Collection of Pictures and Watercolour Drawings of F. H. Woodroffe, Esq., deceased, late of 4 Down-street, Piccadilly. W.' (sold by order of the Executors), Morning Post, 24 June 1907, p. 14; also The Scotsman, 29 June, 1907, p. 10.5Typed notation on photograph record for Madge, Witt Photograph Library, Courtauld Institute of Art, London.We are grateful to Professor Barbara Dayer Gallati for compiling this catalogue entry.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
Spanish school; 16th century."Saint Veronica".Oil on panelIt conserves a period frame.Measurements: 46,5 x 31 cm; 54 x 48,5 cm (frame).The artist presents us with a bust portrait of a nun. The treatment of the figure, especially the area of the men, has great volume, so that it seems to be a pictorial treatment with a sculptural base. However, the face is notable for the fineness of its features, which is established through the curved lines of the eyebrows and eyelids.The image represents the effigy of Saint Veronica Giuliani, an Italian Poor Clare nun (d. 1727) of noble origin who, after a long struggle with her parents, succeeded in persuading them to desist from forcing her to marry and professed as a nun in the convent of Capuchin Poor Clares in Città di Castello, in the region of Umbria. During her novitiate she had intense mystical experiences, which would remain with her throughout her life. These experiences were viewed with suspicion by her own community and by the ecclesiastical authorities, who persecuted her and accused her of being a witch or possessed. One of the most popular mystical episodes of her life was a vision in which God removed her heart from her chest and, after it had been purified by the Virgin with the blood from the wound in Christ's side, gave it back to her with the cross engraved on it. It is this episode that determines the attribute that allows us to identify her, the heart that the saint carries in her hand, as well as the crosier, since, once the persecution of the church had ceased, she would become abbess of her community.
A GRAND TOUR MARBLE PORTRAIT BUST OF THE YOUNG OCTAVIAN 19TH CENTURY 45cm high, base 18cm wideThe bust depicts the young Octavian (later Augustus Caesar) carved after the antique bust from the end of 1st century BC, now in the Gallery of the Busts in the Vatican Museums.Provenance: Private collection removed from 9, Royal Crescent, BathPurchased Alderson & Alderson Antiques, Bath in 1982. Please note: this lot is not liable to Droit de suite.Condition Report: Please note- this is not liable to Droit de suite- cataloguer errorThere are some marks, scratches, knocks, chips, and abrasions consistent with age and slightly clumsy use.Marks most notably to left hand cheek, left hand throat, back of neck, bridge of nose and forehead- small loss to end of noseDirtySurface fairly matt/dullPlease see the additional photographs as a visual reference of condition and which form part of this condition report. Condition Report Disclaimer
AN ITALIAN CARRARA MARBLE LIFE SIZE BUST OF AN AMAZON LATE 18TH CENTURY Head tilted to left, titled to plinth "AMAZONNE", polished socle base61cm high overall, 43cm wideCondition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.Surface to bust is slightly powdery- not polished like socle base. Loop to right hand shoulder with damage and loss. Edge small chips and losses notably above title panel, shoulder and rear edges. Wax (?) deposits/spatters. Some trace of water trails under strong light. Raised flaw to right hand shoulder, surface dirty and with spotting- some engrained and with some darker vein inclusions visible Please see the additional photographs as a visual reference of condition and 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. 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 description All 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
A BRONZE HALF LENGTH BUST OF A GREEK WARRIORAFTER THE RIACE BRONZES, LATE 20TH CENTURY On modern standBronze 79cm high, 108cm high overall, approximately 46cm wide (not 58cm as originally stated)The two bronze "Riace Warrior" figures were first discovered in 1972 on the ocean floor 200 metres off Riace, Southern Italy. After conservation they are now displayed in the Museo Nazionale della Magna Grecia. This would seem to be a part cast of Statue A, the younger warrior who people have suggested may be a depiction of Tydeus.Condition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use. The bronze approx. 79cm high, 46cm wide with faux aging from patination, some casting deposits in crevices. The bronze looks to be welded to the stand armature- base of stand with knocks, scratches and damage no edition number or foundry marks.Provenance; private vendor West Berkshire Please see the additional photographs as a visual reference of condition and 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. 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 description All 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
AFTER ANTONIO CANOVA (ITALIAN, 1757-1822), A CARVED CARRARA MARBLE BUST OF NAPOLEON EARLY 19TH CENTURY Titled to base "NAPOLÉON"47cm high, 24.5cm wideAntonio Canova (Italian 1757 -1822) was invited by Napoleon to Paris in 1802 to undertake a series of portraits. As well as a bust depicting his subject in the uniform of the First Consul- he produced this simpler form, an emulation of earlier Roman Emperor imperial busts- and which became immensely popular and was reproduced for Francophiles and wealthy nobility undertaking the Grand Tour.Condition Report: There are some marks, chips, and abrasions consistent with age and use. The extremities have some wear and small chipping notably to plinth and leading shoulder and back edges.Slightly dirty- with a blackish mark under left eye- small black inclusions visible to his right hairline, base semi-hollowed Please see the additional photographs as a visual reference of condition and which form part of this condition report. Condition Report Disclaimer
A CARVED MARBLE PART FIGURE OF THE SEER AND PRIEST LAOCOÖNAFTER THE ANTIQUE, PROBABLY ITALIAN OR FRENCH, LATE 19TH CENTURYCarved white marble with faint grey variegation, set on associated 19th century scagliola column pedestalthe torso/bust 83cm high, the pedestal 89.5cm high, 172.5cm high overall This bronze group is based upon one of the most celebrated sculptural groups marbles from classical antiquity, which was discovered on 14 January 1506 near Santa Maria Maggiore in Rome. The full group depicts the priest, Laocoön, and his sons struggling against the serpents which have been sent to kill them by the goddess Minerva for warning the citizens of Troy against allowing the Wooden Horse to be brought into their city.It was acquired by Pope Julius II soon after its excavation, and moved to the Belvedere, where it has remained - with a Napoleonic interlude in Paris from 1800 to 1815 - ever since.Condition Report: There are marks, knocks, scratches, scuffs and abrasions consistent with age and use, some to the extremities and edges.The figure is lacking arms, the right arm with recesses for metal rods, now removed and cut with rust staining. Some pitted areas including to the right side of the figure. A crack under the left rib area. The figure is not cleaned and is smooth, suggesting that it has been in an interior.There is surface dirt and discolouration to the marble overall, there is some dirt and dust to the deeper recesses. There are some natural veins present, some quite dark.The scagliola column has some pitted/recessed areas and some chips including to the edges. Additionally some flaws and cracks- notably to moulding at basePlease refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Model, Kitten Natividad signed 10x8 black and white glamour photograph. Natividad (February 13, 1948) is a Mexican American film actress, exotic dancer and pornographic actress. She is noted for her 44 inch (112 cm) bust and appearances in cult films made by her ex-partner, director Russ Meyer. Good condition Est.
λ A GEORGE III HAREWOOD AND MARQUETRY CARD TABLE IN THE MANNER OF MAYHEW & INCE, C.1780-90 with rosewood and kingwood crossbanding, the fold-over demi-lune top inlaid with scrolling leaves and flowers, and centred with a ribbon tied laurel leaf surrounding a coat of arms for William Masterman of Leyton, revealing a later baize lined playing surface, on twin gate supports, the flowerhead guilloche decorated frieze centred with a female blackamoor bust crest, on square tapering legs inlaid with flowers and leaves 75.8cm high, 99.5cm wide, 49.5cm deep Catalogue Note William Masterman (1759-1845) was a banker of Quaker origins, he married Lydia (1756-1819), daughter of Daniel Mildred, a merchant of London. He purchased Leyton House from the Bertie family in 1788 which subsequently became Barclay Park. The banking firm of Masterman, Peters, Mildred and Masterman was based in Lombard St. London between 1779 and 1865.For a Pembroke table from the suite, see Christie's, New York, 15th April 2005, lot 250.
A FRENCH 'EMPIRE' ORMOLU MANTEL CLOCK EARLY 19TH CENTURY the brass eight day drum movement with an outside countwheel striking on a bell, the circular white enamel dial with Roman numerals and blued steel hands, the case surmounted by a bust of a Roman warrior, with applied war trophies, palmettes and scrolls 43.2cm high
A FRENCH 'EMPIRE' ORMOLU MANTEL CLOCK EARLY 19TH CENTURY the brass eight day drum movement stamped '262', the circular dial with Roman numerals and an engine turned guilloche centre, the case modelled with a classical maiden holding a wreath over the bust of a Roman emperor, the front decorated with a rosette and scrolling leaves 24.2cm high, 18.2cm wide
AN ITALIAN PORPHYRY AND VERDE ANTICO MARBLE GRAND TOUR BUST OF THE ROMAN EMPEROR HADRIAN AFTER THE ANTIQUE, 20TH CENTURY his tunic carved with a serpent headed gorgon Medusa, on a turned serpentine marble column the bust: 61.3cm high, 56cm wide marble column: 114.2cm high Provenance From the estate of the late Marguerite Littman.
A FRENCH BRONZE BUST OF A BELLE EPOQUE STYLE FEMALE (3)Modelled with flowers, 35.5cm high; Together with a gilt-bronze Mother and Child group, 24cm high; and a bronze patinated metal figure of a Courtier, 38cm highCondition report: Wear and dust. Some oxidisation and tarnishing to the gilt figure. Rubbing to the patination and small spots of paint to the Courtier figure.
COPELAND; A VICTORIAN PARIAN WARE FIGURE OF ‘LITTLE NELL’ AND BUST OF A GIRL, TOGETHER WITH FOUR OTHER PARIAN FIGURES (6)Second half 19th CenturyThe figure modelled with book in hand, stamped ‘Copeland’ to the reverse, 30.5cm high; the bust of girl, stamped ‘Copeland J 75’ to the reverse, on an ebonised plinth, 27cm high; Together with a seated figure of Dorothea, after a model by John Bell for Minton; a Minton figure of an angel (lacking wings), 30cm high; a boy with a donkey, 24cm high and a seated figure of girl with basket of flowers, 22cm high‘Little Nell’ appears in Charles Dickens’ “The Old Curiosity Shop”, which was published in serial betweeen 1840-1841, and published in book form in 1841.
A rare 1864 copper/ nickel Indian head penny with 'L' rotated reverse (180 degrees), pointed bust, Liberty visible on the headband with ribbon/ hair detail, fine condition, together with a 1999 $1 bill, green seal printed in Washington DC and issued by the Bank of Atlanta Georgia, Withrow an Summers signatures, circulated but in fine condition with a single crease.
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