Donatello, eigentlich „Donato di Niccolò di Betto Bardi“, um 1386 – 1466KOPF DES NICCOLÒ DA UZZANO Höhe: 28 cm. Gesamthöhe mit sechsseitigem Nussholzsockel: 41 cm.Beigegeben Schreiben von Prof. von Bode, Charlottenburg, 1928, Ausgabebestätigung des Bayerischen Nationalmuseum München, 26.9.1958 sowie Briefwechsel zwischen Kleemann Galleries New York 1958 mit Besitzervertreter RA. Fink, in Kopie. Der von Donatello in seiner plastischen Tonbüste verewigte Niccolò da Uzzano (1359-1431) war während der mittelalterlichen Republik ein bekannter Politiker. 1417 wurde er als Gionfaloniere De jure Staatoberhaupt von Florenz. Nach seinem Tod erst konnte Cosimo de´ Medici seine Stellung einnehmen. Das Originalwerk wurde etwa 1386 als farbig gefasste Büste geschaffen. Davon entstanden in der Folge mehrere Wiederholungen, oft auch nur als Wiedergabe des Kopfes, vor allem seit dem Verkauf des Originals von der Familie 1881 an den Staat und der Wiederentdeckung der großen Bedeutung des Renaissance-Bildhauers. Das vorliegende Werk ist ebenfalls in Ton gefertigt und farbig gefasst, die Höhlung an der rückseitigen Halsstelle mit Stuck gefüllt. Dabei handelt es sich nicht um einen Abguss, sondern eine künstlerisch qualitätvolle Arbeit von freier Hand, wobei schwer festzustellen ist, ob sie schon in der Zeit Donatellos bzw. in der Nachfolge geschaffen wurde. Gegen eine Annahme, das der Kopf erst nach 1881 gefertigt wurde, sprechen überwiegende Argumente. Aus den beiliegenden Unterlagen ergibt sich, dass der Kopf bereits am 2.2.1928 von Prof. Wilhelm von Bode (1845-1929), dem Begründer des heutigen Bode-Museums in Berlin, besehen und beurteilt wurde. In einem Brief, datiert Charlottenburg, Febr. 28, an den damaligen Besitzer, Herrn C. von Abegg, Berchtesgaden, bescheinigt Bode „dass Ihr prachtvoller Kopf des Niccolo Uzzano eine Stuckwiederholung der Tonbüste im Bargello zu Florenz ist und dass sie sicher schon zu Lebzeiten Donatellos, des Schöpfers der Tonbüste, die eine der frühesten...“ entstand. Bode baute eine weltweit einzigartig systematisch aufgebaute Skulpturensammlung mit besonderem Schwerpunkt in Werken der italienischen Renaissance auf. Nur in einer Hinsicht hatte von Bode geirrt, als es sich nicht um eine „Stuckwiederholung“ handelt, sondern tatsächlich um eine Fertigung in Ton, was eine frühe Entstehung eher bestätigt. Für das Jahr 1958 besteht ein Schriftverkehr zwischen einem Vertreter des Besitzers und der Kleemann Galleries New York. Es wurde damals über einen Preis von 180.000 DM verhandelt, mit der Bemerkung, dass Wilhelm von Bode einen wesentlich höheren Wert angenommen hätte. Aus einem in Kopie beiliegendem Schreiben vom 14. Dezember 1958 geht hervor, dass der Kopf sich im Bayerischen Nationalmuseum München befand. Mehrere kleine Farbabblätterungen. A. R. (1271541) (11)Donatello,also known as “Donato di Niccolò di Betto Bardi”, ca. 1386 – 1466HEAD OF NICCOLÒ DA UZZANO Height: 28 cm. Total height with hexagonal walnut base: 41 cm.Accompanied by a letter by Professor von Bode, Charlottenburg, 1928, release confirmation from the Bayerische Nationalmuseum Munich, 26 September 1958 as well as correspondence between Kleeman Galleries New York 1958 with representative of the owner RA. Fink (copies enclosed).Niccolò da Uzzano (1359-1431), immortalized in Donatello’s three-dimensional terracotta bust, was a famous politician in the medieval Republic of Florence. In 1417 he became Florence’s head of state as the so called “Gionfaloniere of Justice”. The original was created ca. 1386 as a polychrome terracotta bust. Subsequently several copies, sometimes only executed as a head, were created. The work on offer for sale in this lot is made of terracotta with polychromy. This is not a cast, but a free hand copy of high artistic quality. It is difficult to ascertain whether this was already created during the time of Donatello or at a later date. There are several valid arguments against a dating of the head to after 1881. The enclosed documentation shows that the head was already seen and assessed on 2 February 1928 by Professor Wilhelm von Bode (1845-1929), the founder of the present Bode Museum in Berlin. In his letter, dated Charlottenburg Febr. 28 to the former owner, Mr. C. von Abegg, Berchtesgaden, he certifies “that your magnificent head of Niccolo Uzzano is a stucco replica of the terracotta bust held at the (National Museum of) Bargello in Florence and that it was certainly already (created) during the lifetime of Donatello, the creator of the terracotta bust, which is one of the earliest.”Bode systematically established a worldwide unique collection of sculptures with a focus on Italian Renaissance works. He did, however, make one mistake in assuming this head to be a “stucco replica”, where it is actually made of terracotta. This fact rather confirms its early creation. Correspondence dating to 1958 between the representative of the former owner and Kleemann Galleries, New York is also enclosed. At the time, they were negotiating a price of 180,000 German Marks with the note that Wilhelm von Bode had assumed a much higher value. An enclosed copy of a letter dated 14 December 1958 confirms that the head was formerly held at the Bayerische Nationalmuseum in Munich. Several minor paint chips.
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Lebensgroße Marmorbüste eines antiken LaureatusHöhe: 70 cm. Gesamthöhe mit modernem Sockel: 91 cm. Stil und Ausführung lassen die lebensgroße Büste als eine Arbeit des 17. Jahrhunderts sehen.Der jugendliche Kopf mit krausem Haar ist mit einem Lorbeerkranz bedeckt, was darauf hinweist, dass hier ein junger Dichter oder Künstler gemeint ist. In antiker Tradition ist über dem Hemd mit gefälteltem Kragen eine Toga gelegt. Das Gesicht ausdrucksvoll, die gesamte Bildhauerarbeit von guter Qualität. (1270783) (11)Life-size marble bust of an ancient LaureateHeight: 70 cm. Total height incl. modern base: 91 cm.Style and execution of this life-size sculpture suggest a 17th century artist.
Jacques Sarazin, 1592 Noyvon – 1660 Paris, zug.KINDERBÜSTEHöhe: 41,5 cm. Sockelhöhe: 14 cm.Bronze, schwarz patiniert, auf eingezogenem, rundem Porphyrsockel. Bei dem plastischen Kinderbildnis dürfte es sich wohl um ein Knäblein handeln. Das Gesicht ist äußerst portraithaft gezeigt, der Oberkörper unbekleidet, mit je glatter, polierter Oberfläche. Im Gegensatz dazu zeigt das Haar bewusst markanter gearbeitete Locken. Die hohe Qualität, aber auch Detailvergleiche mit weiteren Werken des Bildhauers lassen diese Künstlernennung zu. Dies zeigt sich vor allem auch in der bekannten Büste des noch kindlichen französischen Königs Louis XIV (1638-1715), die in dessen Alter von fünf Jahren im Auftrag von der Mutter, Anna von Österreich, von Sarazin geschaffen wurde, und die sich im Pariser Louvre befindet (Inv.Nr RF2508). Auch Vergleiche mit weiteren Werken des Bildhauers, etwa die Marmor-Kindergruppe, ehemals im Park von Marly, um 1640-1667, jetzt ebenfalls im Louvre (Inv.Nr. FR 1843 A -B) erlaubten diese Zuordnung. Ebenso die in Warschau im Nationalmuseum befindliche Marmorbüste – die ebenfalls den jungen Louis XIV um 1648 zeigt, also im Alter von zehn Jahren (Inv.Nr. 126644, siehe hierzu: Dariusz Kaczmaryk, Rzezba europejska od XV do XX wieku. Katalog zbiorów, Warschau 1978, Kat. Nr. 177, S. 91). Beachtenswert ist, dass die vorliegende Büste von erkennbarer individueller Physiognomie geprägt ist, was bei Kleinkinderbildnissen eine hohe Meisterschaft erfordert. Die erkennbaren technischen Merkmale des Bronzegusses lassen eindeutig eine Fertigung in dieser Epoche erkennen. Sarazin studierte und wirkte von 1610 bis 1627 in Rom bei Jean Languille, einem französischen Holzbildhauer. Hier wurde er vom Römischen Barock geprägt und arbeitete zusammen mit dem Bologneser Maler Domenichino, aber auch mit dem flämischen Bildhauer François Duquesnoy. Simon Vouet, dessen Nichte er ehelichte, war etwa ein Jahrzehnt sein Mentor und künstlerisches Vorbild. 1648 gehörte er zu den Begründern der Pariser Akademie, die er als Direktor von 1654 bis 1660 geleitet hat. A.R. Provenienz: Privatsammlung. Literatur: Barbara Brejon de Lavergnée (Hrsg.), Jacques Sarazin. Sculpteur du roi, 1592-1660. Ausstellungskatalog. Réunion des Musées Nationaux, Paris 1992. Antoine-Nicolas Dézallier d’Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages. Bd. 2, Reprint der Ausgabe von 1788. Boston 2006, S. 145-158. Marthe Digard, Jacques Sarrazin. Son œuvre – Son influence. Paris 1934. (12718112) (11)Jacques Sarazin,1592 Noyvon – 1660 Paris, attributedBUST OF A CHILDHeight: 41.5 cm. Height of base: 14 cm.Bronze with black patina on recessed porphyry base. This three-dimensional bust of a child is probably depicting a young boy. The face is shown portrait-like, his upper body naked, the skin shown deliberately smooth and polished in contrast with the strikingly carved curls of his hair. The bust‘s high quality, but also comparisons of details with other works by the sculptor allow an attribution to Sarazin. This can especially be seen in Sarazin‘s famous bust of the childlike French King Louis XIV (1638-1715), commissioned by his mother, Anne of Austria when the future king was five years old, today held at the Louvre in (inv. no. RF2508). Other examples by the artist, such as a Group of Children in marble, formerly held at Park of Marly, ca. 1640-1667 and today at the Louvre (inv. no. FR 1843 A -B) compare well as does a marble bust of a youthful Louis XIV, ca. 1648, aged 10 held at the National Museum, Warsaw (inv. no. 126644, also see: D. Kaczmaryk, Rzezba europejska od XV d XX wieku, katalog zbiorów, 1978, cat. no. 177, p. 91). It is remarkable, that the present bust displays individual facial features, which requires a very high level of craftsmanship in portraits of children. Particular features of bronze casting clearly show that it was manufactured during that era. Provenance: Private collection.Literature:B. Brejon de Lavergnée (ed.): Jacques Sarazin. Sculpteur du roi, 1592-1660, exhibition catalogue, Réunion des Musées Nationaux, Paris 1992.A.-N. Dézallier d‘Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages, vol. 2, Reprint of the 1788 edition. Adamant Media, Boston 2006, pp. 145-158.M. Digard, Jacques Sarrazin. Son œuvre – Son influence. Ernest Leroux, Paris 1934.
Nelson Testimonial Medal 1844, by E. Avern, 60mm, pewter, the obverse featuring a bust of Nelson facing left, enclosed by a garter, ‘England Expects Every Man Will do His Duty’; the reverse featuring a view of the Column in Trafalgar Square, with the National Gallery and the Church of St. Martin-in-the-Fields in the background, ‘To Commemorate the Opening of the Nelson Testimonial in Trafalgar Squ.’, the exergue dated ‘21 October 1844’, pierced for ring suspension as usual (Ref: Hardy 97, M.H. 531) numerous shallow edge cuts on obverse, otherwise very fine or better, the high relief portrait particularly clear, a pleasing example overall and extremely rare £400-£500 --- These Testimonial Medals were presented to 357 Greenwich Pensioners who had served at all four of Nelson’s major actions - St. Vincent (39), Nile (35), Copenhagen (45), and Trafalgar (238) - along with a gratuity of ten shillings in a ceremony at Greenwich Hospital on 2 April 1845. The cost of the medals was provided by the Testimonial Committee of the Parishioners of St. Martin’s-in-the-Fields who had originally intended to use the funds for a special ceremony on the completion of the Column (at the time known as ‘Nelson’s Testimonial’ on 1-2 November 1843, at which a number of the pensioners were to be present. This had to be cancelled due to inclement weather and then a second public ceremony, to be held on the Queen’s birthday, 24 May 1844, was also cancelled due to the entreaties of local tradesmen. Captain Douglas-Morris knew of only one Testimonial Medal paired with a Naval General Service, and of fewer than ten single examples. For further information, see his Naval Medals 1793-1856, pp. 49-53, from where it is clear that very few of these medals - despite the number apparently presented - seem to have survived.
Emma Marie Cadwallader-Guild (1843-1911) United States born in Zanesville, Ohio in 1843. A large bronze bust of Peter Brotherhood (Peterborough) signed "Emma Cadwallader-Guild 1887" in green patination fair condition with minor scratches 66cm high, presented on a four gilt pillar pedestal stand 91 cm high. Cadwallader-Guild was an self taught American sculpture by 1875, she exhibited a sketch in plaster at the Women's Pavilion of the Philadelphia Centennial Exhibition. In the mid-1880s she moved to the UK, and is thought thereafter to have lived chiefly in Europe, only returning to the US to fulfill portrait commissions. Her preferred media were marble, granite and bronze. Cadwallader-Guild's known portrait commissions include G.F. Watts, President Lincoln, President McKinley and Andrew Carnegie. Between 1885-98 she exhibited portraits and ideal works at the Royal Academy in London.
The Darwin Centenary 1909: A collection by Dr. R.S. Woodward: 27 items inc.: 'Notes on the Darwin Centenary' A5 manila envelope labelled in Woodward's hand. 7 sheets of yellow, lined foolscap notepaper containing 9 pages of Woodward's autograph account. Printed Ephemera: Darwin Commemoration June 22-24, 1909. Provisional Programme. [2] With oval stamp presumably on receipt at Woodward's office: 'Carnegie Institution Feb 15 1909 Washington'. A brief resume of events. 'University of Cambridge Darwin Celebration', A4 sized printed envelope issued on arrival in Cambridge to Woodward containing invitations etc. Printed with University Coat of Arms and 'Darwin Celebration' letterhead. 'Programme'. 4 page, quarto sized, printed bifolium with detailed programme of events, Tuesday June 22-Thursday June 24. Invitation to Reception in Fitwilliam Museum by Chancellor of the University. 'Order of Proceedings in the Senate House Wednesday, June 23, 1909', pp 12. Large quarto, sewn. Invitation, A5 size, to American delegates to the unveiling of bronze bust of Charles Darwin.' Notice to Delegates, small quarto size broadside with notice of a photograph of Delegates at Christ's College, Wednesday afternoon. Invitation, 'The Master and Fellows of Christ's College at Home'. Programme of Music, 'The Darwin Centenary 1909, Christ's College Garden'. Invitation to a 'Banquet in the New Examination Hall'. In his 'Notes' Woodward records the presence of the great and good at the banquet, including 'ten distinguished members of the Darwin family'. Note: The most complete ephemeral record of an unprecedented scientific celebration; formed by the American physicist and mathematician, Robert Simpson Woodward (then President of the Carnegie Institution. An archivist's dream, this collection is richer in ephemeral material than either the analogous archives held by Cambridge University Library or The Royal Society. He also wrote an (unpublished) manuscript account of his experience of the Darwin celebration which accompanies the archive.
Browning, Robert A collection of works, 1837-1936, comprising i) Strafford: An Historical Tragedy. Longman, Rees, Orme [&c.], 1837, FIRST EDITION, 2pp. publisher's adverts at end, original wrappers, collector's chemise and slipcase, lower corner of upper wrapper rubbed; ii) The Statue and the Bust. Edward Moxon, 1855 [but Richard Clay and Sons, c.1890], WISE FORGERY, full olive morocco by Tout; iii) Cleon. Edward Moxon, 1855 [but Richard Clay and Sons, c.1890], WISE FORGERY, full brown morocco by Riviere & Son; iv) The Poetical Works of Robert Browning. Smith, Elder and Co., 1887-1889, 9 (of 10) volumes, half calf, bindings worn and fragile with some loss to spines; v) Principal Shorter Poems. New York: D. Appleton and Company, 1890, half stained calf, upper joint tender; vi) New Poems. New York: The Macmillan Company, 1915, two portraits, 4pp. publisher's adverts at end, original cloth, spine browned; vii) The Poems of Robert Browning. Oxford University Press, 1936, reprint, original cloth, boards soiled; all 8vo (15)Provenance: i) and ii) Harry Buxton Forman (1842-1917); his sale, Anderson Galleries, New York, 15 March 1920, lots 116 and 121; iii) Edwin N. Lapham; his sale, Anderson Auction Company, New York, 1st December 1908, lot 143; Walter Thomas Wallace, bookplate; his sale, American Art Association, New York, 22nd March 1920, lot 118 Many with bookplate of John Whipple Frothingham
Two trays of assorted china to include; various Christmas collectors plates in boxes; Royal Doulton and Royal Albert, a Royal Doulton 'Noelle' figuurine HN2179, ceramic bust of a bearded man, some floral teaware, comport with plated lid, teapot, ewer with relief design, dresser jug, large pedestal bowl, print of Queen Victoria, Royal Langley N.A.A.F.I writing wallet with mirror inside, various small photographic prints etc. (B.P. 21% + VAT)(B.P. 21% + VAT)
An early 19th century Ayrshire work bodice, the unusual bodice with lace edged lobed bustle and foliate edging to the bust, 48cm long, a Victorian lace bodice with ribbon fasten, an open-work lace veil with gathered detail, and three further lace shawls with floral and foliate decoration (6) Provenance: The Estate of Lord Kenyon, Gredington.
Cecil Thomas (1885-1976), a marble bust of Mrs Stanley Cooper, on a wooden plinth, 49cm high (excluding plinth)/Note: Exhibited at the Royal Academy 1932, exhibition no. 1374 (bears label) CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
A Scottish silver presentation casket, Aird & Thomson, Glasgow 1910, the cover with centurion bust finial and inscription to Robert Harvey Esq., H M Inspector of Schools, the sides each with Scottish views including Dumbarton Rock, Glasgow University and Clyde shipyard to a surround of thistle decoration, on interlaced pierced feet of Celtic design, 31cm wide, approximately 1583gm
Three commemorative medals: Victoria, Diamond Jubilee 1897 (2), AR, 56mm, veiled bust left, rev. young head left (E 1817a), one good very fine, the other nearly extremely fine; Edward VII Coronation 1902, AR, 56mm, crowned bust right, rev. crowned bust of Alexandra (E 1871a), irregular toning, about extremely fine; each medal in its original red leather covered case. [3]
A small collection of historical medals: Victoria, Coronation 1838, WM, 64mm, bust left, rev. coronation scene, set in an ebonised frame, very fine or better; The Great Exhibition 1851, WM, 51mm, bust of Prince Albert right, rev. as for E 1462, good very fine; General Gordon Memorial 1885, WM, 45mm (E 1714), cased, near very fine; William Shakespeare, 400th Anniversary, AR, 57mm (E 2103a), cased, almost as struck; Prince Charles Investiture as Prince of Wales 1969, a set of three, AR, 57/44/32mm, head right, rev. view of Caernarvon Castle, by John Pinches, cased with certificate, some speckling, otherwise about as struck. [7]
Mary II of England: two medals: Mary as Regent 1690, AE, 49mm, bust right, rev. landscape with moon and stars, by J. or N. Rottier (E 320), at least good very fine; Death of Mary 1694, AE, 49mm, bust right, rev. birth and death dates in the centre, 'SVBLATAM EX OCVLIS QVÆRIMVS', by J. and N. Rottier (E 362), edge bruise, otherwise good very fine or better. [2]
Anne (1702-14): War of the Spanish Succession, two medals: Douay Taken 1710, AE, 48mm, bust left, 'ANNA AVGVSTA', rev. Victory amid martial trophies, Britannia pursues a fleeing French warrior beyond, by J. Croker (E 443), good very fine; French Lines Passed/ Bouchain taken 1711, AE, 44mm, similar obverse, rev. a French soldier surrendering to a female figure, by J. Croker (E 450), good very fine. [2]
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