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Lot 241
Anne Curry (French 1943-): Bronze bust modelled after the artist's late Grandfather, signed and dated '95 and numbered 1/5 on square wooden plinth, H41cm overall. Provenance: This piece was a gift from the artist's father to the vendors late mother in law. The portrait depicts the artist's late Grandfather who was a friend of the family
Lot 51
Rowland Henry Hill (Staithes Group 1873-1952): 'Leonard Mallinson' bust portrait as a young man, watercolour signed and dated 1936, 26cm x 20cmProvenance: Mallinson was a family friend of the Hills. The portrait was painted whilst he was a trainee in the RAF, later becoming a a pilot in WWII attaining the rank of Squadron Leader
![A ceramic bust of Homer on a stone effect plinth, approximately 137 cm (h). [2]Condition Report: Height of bust is approximat](https://cdn.globalauctionplatform.com/90129739-5aa8-4904-9bbf-add400d1fb1f/4f3dc065-40a9-4e24-9fe7-ade2009d0300/468x382.jpg)
Lot 485
A white metal commemorative medal, Queen Victoria Coronation, designed by Joseph Davis, draped bust right obverse with Britannia, Scotia and Hibernia offering wreath and scroll reverse, 51 mm (d) and 43 grams and a NCAS ( Northern Countries Archery Society ) medal displaying an enamelled shield, inscribed verso 2nd score 1961
Lot 186
"Saint James". Wrought silver reliquary bust. Colonial. 18th - 19th century. Large figure of the apostle, completely covered with thick plates of embossed and wrought silver on a wooden base. The body’s upper part is covered by a short cloak continuing to the beginning of the saint’s cape. All of this is worked in silver that has been embossed and chased all over its surface with vegetation motifs, pilgrim’s shells, leaves and the letters C facing each other and joined by small crowns. In the centre of the front part is the space for the relic. The hat is separate. It is made from a separate piece, and under it, the saint’s head is completely worked. The apostle’s face is magnificently chased, it looks as if it is a portrait. 55 x 40 x 28 cm
Lot 4
Italian or Spanish Christ of the seventeenth century. Following models of GUGLIELMO DELLA PORTA (ca. 1550-1577).Blued bronze.Defects in the hand.Measurements: 15,5 x 16 cm.Dated in the seventeenth century, the bronze that is presented follows the model of the crucifix of Sebastiano Torrigiani, derived in turn from a model of his master Guglielmo della Porta, which is in the church of San Giacomo Maggiore in Bologna. Thus, we are faced with the figure of Christ Crucified with only three nails, accentuating the drama of the scene. This theatricality, typical of the mannerist period where the first of the models was born, is enhanced by the elongation of the upper limbs, which support the entire weight of the crucified body.Guglielmo della Porta was a renowned Italian sculptor, architect and restorer of Mannerism. The son of Cristoforo della Porta and his wife Caterina, he received his artistic education from his uncle Giovanni Battista della Porta in Genoa. He worked for the cathedral of Genoa during his early years of artistic training already in 1531 together with his brother Giacomo and under the direction of his uncle on the statues of the chapel of St. John the Baptist. In 1537 he moved to Rome and became a disciple of Michelangelo, thus obtaining a greater number of commissions. An example of this is the bust he made for Pope Paul III in 1547, after his death, and the tomb of St. Peter, which was his main work, which occupied him from 1555 to 1575, although it was later revised by Bernini. His career as a sculptor at the court of the Farnese was due to his contact with Mario Maccarone, the supervisor of papal building projects. In 1540, as Della Porta he designed the tomb of Vincenzo degli Ubaldi in the church of Santi XII Apostoli. Della Porta was a lay brother of the Cistercians and was called from 1547 to the papal coinage. Among other things, his studio was commissioned to complement the legs of the torso of Farnese, which was found in 1546. The result was so convincing to his contemporaries that following Michelangelo's own advice he was approved to link the ancient limbs of the statue, which had been excavated. Today his works can be found in different places of great historical and artistic relevance, such as his sculpture of Moses in San Lorenzo de Fiori, or for example his works in the Giuliano chapel of the cathedral of Genoa, in Santa Maria del Popolo, and his bust of Paul III which is in the Museum of Capodimonte.
Lot 1554
A Dutch decorated English creamware plate, circa 1770, painted with opposing bust profile portraits of Prince William V of Orange and his consort Princess Frederika Sophia Wilhelmina, divided by an orange tree, above their initials and inscription 'Juist in het teken vant verbont', within a green and red foliate border, diameter approx 25cm (minor rim scuffs and wear to enamels).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1699
A small group of Parian busts and figures, including a bust of Apollo, modelled after C. Delpech, late 19th century, height 29cm, a bust of Clytie and a French bust of a young girl, raised on a tapered rectangular base, decorated with two birds.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1586
An Italian maiolica 'Bella Donna' Deruta style circular dish, late 19th/early 20th century, painted in gold lustre and blue with a central profile bust portrait of a lady by a flower, within a circular frame and panelled rim, unmarked, diameter 41.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1690
A Copeland Crystal Palace Art Union Parian bust of Purity, circa 1869, modelled after M. Noble, the socle base impressed 'Ceramic and Crystal Palace Art Union Pub. November 1869', height 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 538
Early 19th Century French bronze and ormolu library clock, anonymous, Charles X circa 1825-1830, 8cm silvered Roman dial with engraved sunburst centre and vacant oval cartouche, single-train timepiece movement with silk suspension, outside countwheel-striking on a bell, numbered 573, in architectural case surmounted by bust of Apollo Belvedere,over rosettes, trophy and Vitruvian scrollwork, 38cm highCondition report: Dial would benefit from a light clean, otherwise all sound. Sold with pendulum and later winder.
Lot 167
3 x framed prints comprising of Carlo Gregori after Giovanni Domenico Campiglia Galba, Roman sculpture bust C18th Grand Tour engraving, c1750 Carlo Gregori after Giovanni Domenico Caesar Marco Aurelio., Roman sculpture bust C18th Grand Tour engraving, c1750 and Marcus Annius Verus Aurèle Annio Vero sculpture bust C18th Grand Tour engraving, c1750 55 x 66cm
Lot 1057
Irish Interest: A Belleek 2nd period parian bust of Clytie, with button detailing to drapes, on raised socle, factory stamp to underside, 27cm high CF: for similar see Marion Langham (Lady Langham) " Belleek, Irish Porcelain" - (an illustrated guide)., p.7Condition Report: This piece appears to be in good condition CONDITION:This pieces appears to be in good condition
Lot 310
Antique Period - Attractive 9ct Rose Gold Cameo Set Ring. The Shank Added Later Is 18ct Gold. Depicts In High Relief, The Portrait Bust of a Classical Female. c.1900. Ring Size - T. 4.5 grams. All Aspects of Condition Including Cameo / Setting and Shank Excellent. Provenance - From a Ladies Private Collection.
Lot 29
Duncan Grant (British, 1885-1978)Still Life with Fruit and a Jug signed and dated 'D.Grant/-/60' (lower right)oil on paper laid on board38.2 x 79.2 cm. (15 x 31 1/4 in.)Footnotes:ProvenanceThe Artist, circa 1965, where acquired byPrivate CollectionTheir sale; Christie's, London, 2 March 1979, lot 97 (as Still Life with Fruit and Jug on a Table)With The Belgrave Gallery, London, where purchased by the family of the present ownerPrivate Collection, U.K.In his later years, Duncan Grant frequently included works of art in his still lifes. They ranged from sculpture (Stephen Tomlin's bust of Virginia Woolf; Private Collection), furniture (the Omega Workshops screen in his studio at Charleston), to Japanese art (a Sharaku textile, Private Collection) to Matisse (Still life with Matisse, Royal Collection). More often, he uses designs by himself as backgrounds for flowers and fruit. The present work shows a decorative design pinned to the wall and is highly typical of Grant's decorative designs of the 1950s and 1960s. This still life was probably painted in Grant's and Vanessa Bell's London flat rather than at Charleston.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 61
BARTOLOMEO MANCINI (c. 1630-1715); Rome, 1701."Christ and the Virgin and Child."Oil on copper.They present jumps in the painting.They retain period frames.Signed and dated on the back.Measurements: 27,5 x 20,5 cm (x2); 34 x 26,2 cm (frames, x2).Due to the material and the reduced dimensions of each of the works that make up this set, it is very likely that they were intended for private devotion. Both pieces are conceived in the same way, although they represent a different image. It is a clear and simple composition with the main protagonist imbued in an ochre background, illuminated by the rays of sanctity given off by each of the characters. These are presented through the bust inscribed in the oval format of the support, facing the viewer, although in both cases looking away and avoiding direct contact. In the representation of Jesus, she raises her gaze upwards, while Mary turns her face in profile and lowers her gaze in a completely pious attitude. Both works stand out for the softness and softening of the features, combined with the use of a chromatic range of energetic and emphatic tonalities.These characteristics invite us to think of the work of the Italian painter Bartolomeo Mancini, to whom is attributed a piece, located in the Museo di Casa Martelli in Florence, which presents the same composition as the portrait of the Virgin present here except for the format. It is his well-known Madonna Addolarata There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of them being those in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, where Mary appears alone, sometimes with her heart pierced by one or several swords. Since this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude:
Lot 421
A LEAD TONDO OF HENRI IV, 17TH / 18TH CENTURY in deep relief, profile bust to dexter, laurel wreath to hair 16cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 328
A DOUBLE-SIDED BRONZE PLAQUETTE, ATTRIBUTED TO GIOVANNI BERNARDI (1494-1553) oval, the front with a profile bust to dexter of Ludovico Ariosto flanked by raised initials LA, the reverse with the Fall of Phaeton who with his chariot tumbles from the sky 9 x 6.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* The portrait is apparently based on the frontispiece of the 1523 edition of Ariosto"s "Orlando Furioso". Bernardi 2011, p.67; for reverse, Fall of Phaeton: Bange 880; Kress 32
Lot 462
A BRONZE-GILT PORTRAIT MEDALLION OF HENRY VIII, MANNER OF HANS SCHWARZ (C.1492-AFTER 1532) in deep relief, bust almost full-face, wearing broad-rimmed hat, collar of office and St George medal on riband, laurel leaf border 10cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* See a similar medal from the Samuel H. Kress Collection, The National Gallery of Art, Washington DC, No. 1957.14.1279
Lot 442
THREE SILVER COINS comprising: a Dutch 28 stuiver siege coin, Leiden, dated 1574, the city arms and legend GODT BEHOEDE LEYDEN, reverse with a crowned lion with liberty cap on pole and the legend HAEC LIBERTATIS ERGO; an osella, Venice, after Piero Pasta for Francesco Loredan, dated 1759, commemorating the presentation of the Golden Rose by Pope Clement XIII, Religion on pedestal flanked by St Mark and the Doge, reverse with the Golden Rose; and a large scudo, Papal States, Pius VI, dated 1780, seated Religion in clouds with legend AUXILIUM DE SANCTO, reverse with the arms of the Pope and legend PIUS SEXTUS PONT.M.A.VI, applied cresting with suspension loop; together with a brass pilgrim badge, after Francesco Cesarini, Italian, probably 19th century, after a medal of about 1688, profile bust of Pope Innocent XI, reverse with a procession approaching the Church of the Virgin at Loretto (4) 4 to 3.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 485
A SMALL MEDAL OF MARIA OF AUSTRIA, AFTER ANTONIO ABONDIO (1538-1591), 18TH / 19TH CENTURY relief profile bust to dexter of the wife of Emperor Maximilian II, reverse inscribed J. MOUSSEAU 6 x 5.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Attwood 1132, 1134,1135; Toderi Vannel 453
Lot 346
A BRONZE PLAQUETTE OF LIVY, PADUA, 16TH CENTURY circular, profile bust to dextra, in relief, inscribed TITUS LIVIUS PADUA, pierced 4.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Note the gaunt features, hooked nose and heavy stubble also found on Agostino Zoppo"s bust of Livy in the National Museum in Warsaw (usually given to Riccio). Toderi Vannel 1022
Lot 412
A SMALL BRONZE PLAQUETTE OF A ROMAN EMPEROR, ITALIAN, 17TH / 18TH CENTURY oval, profile bust to sinister, later inscribed on reverse COTTA REX Subalpin Ligur (mistakenly for Marcus Aurelius) 5 x 3.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 414
A BRONZE-GILT PLAQUE OF ST JOHN THE BAPTIST IN THE DESERT, PROBABLY 18TH CENTURY oval, seated on a rock beside trees, the lamb, book and reed cross at his feet,10 x 7cm; together with a bronze plaquette of St Peter, probably late 18th century, deep relief profile bust to sinister,13 x 11cm (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 400
A BRONZE-GILT MOUNT, ITALIAN, 16TH / 17TH CENTURY quatrefoil, openworked with a bust of St Catherine in a roundel surrounded by the foliate foils with shells between 7cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
Lot 388
A BRONZE PLAQUETTE COMMEMORATING LIPPA ARIOSTI, ITALIAN, POSSIBLY 16TH CENTURY oval, profile bust to sinister of a young woman, with inscription LIPA ARIO STA, reverse (rubbed) of four figures, inscribed in border DIGNIOR DICANDA. 7 x 6cm; together with a bronze plaquette of Macchiavelli, probably 19th century, circular, bust, "Nicolaus Macchiavellius" inscribed on border, the reverse relief of a serpent rising from bushes, 7cm diameter (2) Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Lippa Ariosti: see The Metropolitan Museum, New York, No. 1986.319.66. Lippa (or Filippa) Ariosti (d.1347), a Bolognese noblewoman, was the mistress (and later wife) of Obizzo III d"Este, Marquis of Ferrara.
Lot 423
A BRONZE PORTRAIT MEDAL OF ANTOINE PERRENOT DE GRANVELLE (1517-1586), AFTER LEONE LEONI (C.1509-1590), PROBABLY SECOND HALF 16TH CENTURY bust to dexter, holding his crozier below the inscription ANTON PERRENOT EPI A TREBATEN, the reverse with The Earthly Paradise, a unicorn at a mountain spring surrounded by wild animals under the inscription CAETERIS·AEQVE·AC·SIBI· (For others as for him) 9.5cm diameter Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cardinal Antoine Perrenot de Granvelle, (1517-1586), according to Hugh Trevor Roper, was "the dominating Imperial statesman of the whole century… the greatest private collector of his time, the friend and patron of Titian and Leoni and many other artists" ("Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633", London, 1976, p.112). The illustration on the reverse refers to Granvelle"s ambition to clean the Christian church from |Protestant contamination| (Attwood, p.103). Attwood 31; Toderi Vannel 61
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