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Lot 406
A vintage 20th Century Art Deco advertising point of sale shop display haberdashery millinery chalkware female mannequin head bust facing right with brushed back curls. Painted with a bronze effect with hair painted in dark green. Wear commensurate with age. Measures approx; 37cm x 26cm x 15cm.
Lot 95
Novohispanic School; second half of the XVIII century."Portrait of a clergyman".Oil on canvas.Presents repainting.Measurements: 81 x 65 cm.In this work the painter offers us the portrait of descriptive character, in which he presents a man of advanced age, magnificently captured in his psychology by the author. It is a long bust portrait, in which the figure is inscribed on a neutral background of ocher tones, which monumentalizes the figure and invites the viewer to focus all his attention on the protagonist.It is worth mentioning that during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography; these models were also copied in official painting and in the portraits of the time. However, in the early years of the 19th century, already in times of independence and political opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
Lot 12
Italian school of the XVIII century."Bust of Cleopatra".Old attribution to Cornelis Janssens.Red chalk on laid paper.Measurements: 15 x 14 cm; 51 x 49 cm (frame).The artist of this sanguine demonstrates his exquisite technical ability when portraying this young woman. The lady, whose hair is tied up with a ribbon and her delicate features could be Cleopatra herself, turns her head to avoid the rigidity of a strictly frontal composition. Previously, this work was attributed to Cornelis Janssens, a Flemish Baroque painter who specialized in figure subjects.
Lot 910
Antoine Vechte (1799-1868) a circular bronze plaque with the bust of Queen Victoria within a border of classical Greek figures, 'For the Success in the National Art Competition', mounted on oak, 14cms diameter; together with an Elkington Mason & Co. Art Nouveau bronze pen tray, 16.5cms wide (2).
Lot 287
A Victorian Berthold Muller novelty miniature silver group depicting two cherubs seated and eating at a table, the legs a/f; together with a miniature silver bust of a General and an iron doll's house bust of Schiller (3).Condition ReportThe cherub group is missing a leg off one chair and a leg and a half off the other, full Victorian Chester import marks for 1898 and maker mark for B Muller & Son (Berthold Muller)The miniature bust is unmarked
Lot 103
Spanish school seventeenth century."Bust of a saint.Carved and polychrome wood.Measurements: 43 x 26 x 11 cm; 52 x 33 x 17 cm (base).We are in front of a wood carving belonging to the Spanish School of the seventeenth century which represents the bust of a saint from a vestment image.The origin of the vestment images is still unclear because there are many evidences that question the birth of this type of work in the baroque period, as it has been pointed out for a long time. The custom of covering images, which we can interpret as the previous step to the realization of vestured images, can be seen in the images covered with gold plates and precious metals during the Middle Ages. This ornamental technique did nothing more than to arrange sumptuous clothing over the original carved models.The phenomenon of dress images is inherently popular, so it is difficult to section the time to speak of closed models and periods, but the general trend throughout the new century was undoubtedly the enrichment and transformation of the classical model of these images.
Lot 25
Follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Madonna of the Annunciation". Oil on canvas. It preserves the original canvas. It presents restorations. Size: 66 x 55,5 cm; 77 x 66 cm (frame). Judging by the formal and stylistic characteristics, the present work has been carried out by a painter of the Guido Reni circle, undisputed master of the Roman-Bolognese classicism together with Albani and Domenichino. Thus, we are faced with the representation of the Virgin Mary in her dedication as Dolorosa, portrayed on a neutral background, with a powerful diagonal spotlight illuminating the figure. Formally, Mary is presented bust-length, raising her gaze towards the source of the light, in ecstasy and with a subtle and elegant gesture. The undisputed master of Roman-Bolognese classicism along with Albani and Domenichino, Guido Reni was undoubtedly the best of the three. Closely linked to the Carracci family and to the city of Bologna, they all had a similar trajectory. They trained in Bologna with Denys Calvaert, and then moved on to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Farnese Gallery. His best period begins in these years; in 1609, at Annibale's death, Reni remains as the head of the classicist school. In the city he will be protected by Scipione Borghese, the future Pope Paul V, for whom the painter will realize one of his most important works, "La Aurora" (Palazzo Rospigliosi). It shows something that will always be characteristic of Reni's style, his admiration for ancient sculpture. Starting from the classical statues, he develops an ideal of beauty and perfection that will be much admired by the following painters. In 1614 he returned to Bologna for good. Reni's style evolves in a clear direction, more and more sculptural and cold, more and more fully classicist. His mature work will be characterized by a cold palette, with silvery reflections. Finally, from the 1930s, his style became sketchy, with an unfinished appearance and a tendency towards monochrome, of great interest from a technical as well as a formal point of view.Guido Reni is currently represented in the most important art galleries around the world, including the Prado Museum, the Hermitage, the Louvre, the Metropolitan in New York and the National Gallery in London, among many others.
Lot 101
Spanish school seventeenth century."Bust of a saint.Carved and polychrome wood.Measurements: 49 x 30 x 11,5 cm; 60 x 30 x 17 cm (base).We are in front of a wood carving belonging to the Spanish School of the XVII century in which is represented the bust of a Saint coming from a vestment image.The origin of the vestment images is still unclear because there are many evidences that question the birth of this type of work in the baroque period, as it has been pointed out for a long time. The custom of covering images, which we can interpret as the previous step to the realization of vestured images, can be seen in the images covered with gold plates and precious metals during the Middle Ages. This ornamental technique did nothing more than to arrange sumptuous clothing over the original carved models.The phenomenon of dress images is inherently popular, so it is difficult to section the time to speak of closed models and periods, but the general trend throughout the new century was undoubtedly the enrichment and transformation of the classical model of these images.
Lot 62
ARTHUR WAAGEN (Memel, Lithuania, 1833 - France, 1898).Clock "Valkyrie" "The time is money", ca. 1900.Sculpture in calamine with incorporated clock.Signed.Measurements: 70 x 39 x 23 cm.Round bust made of patinated bronze, representing an exotic and beautiful oriental princess, with a smiling face and rich attire composed mainly of coins, reflecting the sumptuousness of the East imagined by Europeans. It also has a fantastic mask on the chest, of classical mannerist inspiration, under which we can see the clock face, with a bronze front and Roman numerals in cobalt blue on white porcelain cartouches, with hands in the shape of a pike and fleur-de-lis.Born in the town of Memel, then belonging to East Prussia, the sculptor Arthur Waagen specialized in orientalist, genre and animal themes. He developed his career in France, and exhibited his works to the public from 1869. He is currently represented in museums such as the Sheffield Museum in England, as well as in numerous private collections.Orientalism should be understood as one of the currents that fed the European art of the nineteenth century, coinciding with the triumph of the capitalist bourgeoisie and imperialist countries, especially England and France. Within the romantic rejection of time itself, a fantastic and free flight in time and space is developed, towards antiquity and towards an Orient that extends from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Near East will be the new discovery. Starting with the beautiful and unattainable odalisques of Ingres, with such pale skin and elegant gestures that always lead us to think of a captive Christian princess, never an Arab woman, the various pictorial schools will develop a whole new iconography that seeks to recreate in a fantastic way -since nothing is known about the Orient- a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in great detail, seeking to serve as a window to the unknown through an almost photographic reproduction that endowed the narratives with verisimilitude and spurred the imagination of the European spectator.
Lot 3
French school of the XIX century."Female bust.Carved marble.Signed "Chemin" on the back.With unpainted.Measures: 52 x 40 x 20 cm.On a truncated conical base stands the bust of a lady, dressed in the classical manner with a toga and a laurel wreath. The white marble is combined with other colors, giving rise to a sculpture that stands out for its quality and color.This type of work is inspired by those made during the Renaissance and Baroque periods, especially in Italy. These took as an example those of the Roman Emperors, found in the same Italian capital, in which different marbles were combined but without such a high contrast.
Lot 266
Bronze bust of a lion, on a stand, h28cm, a mantel clock with Smiths movement, h23.5cm w23cm, a vintage Bakelite rotary dial telephone, a mantel clock in ebonised and faux bamboo case with movement by Marti, h20cm w19cm, an alabaster figure of a Cockatoo, h32.5cm, a Victorian silver plated teapot, a Tudric Pewter Liberty & Co teapot, and a bust of Buddha, h20.5cm
Lot 652
Wedgwood Limited Edition Bust of John F Kennedy in Black Basalt, measures 9" tall, in original box with certificate, No. 929. Together with seven Wedgwood cabinet plates, Boston Tea Party, Paul Revere's Ride, Across the Delaware, Victory at Yorktown, Apollo Eleven, Battle of Concord, and Declaration Signed, all 8" and in Blue Jasperware.
Lot 424
Rare George 11 Arrival of the young pretender expected 1745 Maker: T Pingo.Obverse: Bust of Prince Charles facing right hair short, curly behind, no drapery.Leg. CAROLUS. WALLIAE. PRINCEPS. Below, 1745.Reverse: Britannia, standing by rock on the seashore and resting upon her spear and shield, awaits the arrival of an approaching fleet. Behind her is a globe with the map Great Britain. weight 35g measures approx 42mm dia
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110054 item(s)/page