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Lot 10477
Kleine Elfenbeinbüste "Alter Fritz", deutsch, 2. Hälfte 19. Jhdt. Einteilig geschnitzte Büste des preußischen Königs mit fein ausgearbeiteten Details. Auf geschwärztem, hölzernen Sockel. Höhe der Büste 8,2 cm, Gesamthöhe 16 cm. Achtung - Versand in Nicht-EU-Staaten unterliegt CITES Regularien. Zustand: I - II A small German ivory bust of Frederick II, King of Prussia, 2nd half of the 19th century Einteilig geschnitzte Büste des preußischen Königs mit fein ausgearbeiteten Details. Auf geschwärztem, hölzernen Sockel. Höhe der Büste 8,2 cm, Gesamthöhe 16 cm. Attention - shipping to non-EU countries subject to CITES. Condition: I - II
Lot 10245
Zar Alexander I. - Portraitbüste, 19./20. Jhdt. Gips, hohl gegossen, unsigniert. Vollplastische Büste des Zaren im Stil antiker Herrscherportraits. Oberfläche teilweise gedunkelt, Kratzer. Höhe 25 cm. Zustand: II Tsar Alexander I - a portrait bust, 19th/20th century Gips, hohl gegossen, unsigniert. Vollplastische Büste des Zaren im Stil antiker Herrscherportraits. Oberfläche teilweise gedunkelt, Kratzer. Höhe 25 cm. Condition: II
Lot 10227
Kaiser Franz Joseph I. von Österreich - goldbronzierte Gipsbüste Gips mit Goldbronzierung. Der Kaiser in Uniform mit reichem Ordensschmuck, am Sockel Lorbeerzweig, rs. Künstlersignatur "A. Bortolloti" sowie Bezeichnung "Vervielfältigung vorbehalt.". Höhe 39 cm. Zustand: II Emperor Franz Joseph I of Austria - gold bronzed plaster bust Gips mit Goldbronzierung. Der Kaiser in Uniform mit reichem Ordensschmuck, am Sockel Lorbeerzweig, rs. Künstlersignatur "A. Bortolloti" sowie Bezeichnung "Vervielfältigung vorbehalt.". Höhe 39 cm. Condition: II
Lot 10232
Kaiser Franz Joseph I. von Österreich - Büste aus Glas Die Büste aus Glas (!) gefertigt, bronzefarben patiniert. Unterseite mehrfach bezeichnet. Höhe 18,5 cm. Sehr frühe Darstellung des Kaisers Franz Joseph I. (1830 - 1916). Er war vom 2. Dezember 1848 bis zu seinem Tod Kaiser von Österreich. Zustand: II + Emperor Franz Joseph I of Austria - glass bust Die Büste aus Glas (!) gefertigt, bronzefarben patiniert. Unterseite mehrfach bezeichnet. Höhe 18,5 cm. Sehr frühe Darstellung des Kaisers Franz Joseph I. (1830 - 1916). Er war vom 2. Dezember 1848 bis zu seinem Tod Kaiser von Österreich. Condition: II +
Lot 10412
Porzellan-Büste der Manufaktur Rosenthal, CDV-Foto Regiment Gardes du Corps im Aufstellrahmen Büste eines Soldaten mit Stahlhelm, unten bez. Künstler "T. Kärner ", Modell-Nummer "710" und Zeichen der Manufaktur, Höhe 16 cm, um 1950. Dazu Kabinettfoto (CDV) eines Soldaten des GdC mit Supraweste, Foto-Atelier Hermann Selle in Potsdam, Maße Foto ca. 6,5 x 10 cm (leicht beschnitten), im zugehörigen Aufstellrahmen des Regiments GdC, Höhe 25 cm, um 1900. Zustand: II A porcelain bust of the Rosenthal manufactory, CDV photo Regiment Gardes du Corps in a frame Büste eines Soldaten mit Stahlhelm, unten bez. Künstler "T. Kärner ", Modell-Nummer "710" und Zeichen der Manufaktur, Höhe 16 cm, um 1950. Dazu Kabinettfoto (CDV) eines Soldaten des GdC mit Supraweste, Foto-Atelier Hermann Selle in Potsdam, Maße Foto ca. 6,5 x 10 cm (leicht beschnitten), im zugehörigen Aufstellrahmen des Regiments GdC, Höhe 25 cm, um 1900. Condition: II
Lot 30
A Victorian ivory Cameo Brooch, carved bust portrait of lady wearing bead necklace with yellow metal mount and safety chain, unmarked, approx. 55mm high, 40mm wide, 25.8g, crack extending through face, together with a rose metal Spy Glass with rectangular bevelled glass and ring handle, unmarked, 82mm long, 19.2g, together with a gold stick Pin, the finial with double halo of pearls and lapis type cabochons, 6g, a Stick Pin set pearl within rose-cut diamond border and another gilt metal horseshoe Stick Pin
Lot 930
Henry Bone R.A., (British, 1755-1834), after Benjamin West P.R.A. (British, 1738-1820), portrait of Benjamin West P.R.A., half length, seated at his desk, a classical bust behind, miniature in enamel on copper, signed and dated 1803 l.l., inscribed verso 'Benjamin West Esq, President of the Royal Academy London, Historical Painter to His Majesty, Member of most of Academies of Europe, and those of America. Born on 10 October 1738 at Springfield and Chester Country Pennsylvania in North America...London Dec 1803. Painted by Henry Bone A.R.A., enamel Painter to His Royal Highness, The Prince of Wales, after the original by Mr West, painted in 1800'. also inscribed on original backing paper 'Portrait of Benjamin West...bequeathed by him to Mrs Raphael West as a token of his regard, 1820. Henry Bone, No.15 Berners St, London'. 18 by 14.5cm, in the original gilt composition frameProvenance: a gift from Benjamin West to his daughter in law Mrs Raphael West, 1820Additional provenance: By descent. Vendor's late husband was descended on his mother's side from noted artist Benjamin West PRA (American, 1738-1820)
Lot 558
Continental carved walnut Atlante, modelled as the bust of a bearded monarch on stipple-carved square tapering pedestal support, probably 18th Century, 69cm high excluding later fixing Condition: Losses to frill of capital. Loss to one side of hair, grain splitting down one side cutting through edge of forehead, beard, etc. Losses to upper scrolls of pedestal. One side moulding is extensively depleted and the other is missing. Overall extensive losses, sold as seen - **General condition consistent with age
Lot 456
School of Jacopo della Quercia (Siena, 1374-1438), an Italian polychrome painted stucco bust of a young woman, 15th century, portrayed with the head inclined slightly to dexter, wearing a loosely draped tunic, on an integral oval plinth, circa 43cm highProvenance: Sotheby's London, 19 April 2000, European Sculpture and Works of Art, lot 12, sold for £7800Then with Richard Philp, London, exhibited at Grosvenor House fair (as attributed to Francesco di Valdambrino) circa 2000Where acquired by the present ownerThis refined and sensitively modelled bust recalls the stucco portrayals of maidens from the circle of the celebrated early Renaissance sculptor Jacopo della Quercia, whose most well-known works include the monumental doorway of the Cathedral of San Petronio in Bologna, and the Fonte Gaia in his native city of Siena. Della Quercia's elegant, slender forms show the profound influence of Donatello and Nino Pisano.Two similar busts, also executed in stucco and attributed to the School of Jacopo della Quercia, are in the collection of the Rijksmuseum, Amsterdam (BK-NM-11933 and BK-17229). Another is at the Palazzo Madama, Turin (inv. no. 3493/C). The handling particularly of the Rijksmuseum busts is remarkably similar to the example presented here, and the present lot may originate from the same circle or workshop.
Lot 812
An impressive Victorian sculpted marble portrait bust of Henry Temple, Viscount Palmerston (1784-1865), after Robert Jackson, circa 1875, portrayed in robes of the Order of the Garter, 71cm high, 61cm wideProvenance: 1st Earl Mountbatten of Burma, of Broadlands and thence by descent The present bust is possibly derived from Robert Jackson's full-length statue of Temple, situated near his tomb at Westminster Abbey.Condition Report: The marble is a little bit sugary and weathered overall, with areas of scuffing and slight discolouration.There are some old chips and losses/nibbling to the edges of the ribbons and bows, the tip of the nose, the edges of the collar, and along the truncation and socle.There is also a larger repaired break to the rear of the collar, and a thin, fine vein runs along the left side of the neck. Possibly a slim crack, or perhaps natural inclusion in the stone.Condition Report Disclaimer
Lot 811
A sculpted white marble portrait bust of King George V (1865-1936), after Herbert Tyson Smith (1883-1972), second quarter 20th century, portrayed facing forward, in military garb with medals and epaulettes, 63cm high, 65cm wide Provenance: 1st Earl Mountbatten of Burma, of Broadlands and thence by descent This bust appears to be loosely modelled on the busts of George V made by Liverpool-born memorial sculptor Herbert Tyson-Smith, whose other works include the reliefs on the Liverpool cenotaph and other public commissions in the Merseyside area.
Lot 851
After Roger Godchaux (French, 1878-1958), two patinated bronze relief plaques of Wartime subjects, circa 1920-30, one with a man in trench coat and helmet leading a mule, the other with a soldier and two horses at bust length, each indistinctly inscribed Roger Godchaux to the maquette and mounted to rectangular oak backplates, the larger example 23.5cm high, 34.5cm wideThough mostly known as an animalier, sculptor and draughtsman Roger Godchaux worked as a newspaper illustrator during the First World War, and it is possible that these rare and unusual plaques were derived from designs created then. The format of low relief shares similarities to a bronze plaque exhibited at the Sladmore Gallery, London, during the recent exhibition Les Animaliers, 1900 to 1950.
Lot 827
Frederick James Halnon (British, 1881-1958), a green patinated bust of a maiden, called 'The Crown of Victory', circa 1920, portrayed facing forwards and wearing a crown of laurel, inscribed F. HALNON to the rear, mounted to a green serpentine marble plinth, the bronze approximately 26cm high, overall height approximately 39cmBritish sculptor Frederick Halnon was a student of Alfred Drury, and exhibited classical and genre works at the RA from 1904. The strong classically inspired lines and astute modelling of the present lot show the influence of Dury's 'New Sculpture' style on Halnon's work. This model, called 'Crown of Victory', was exhibited at the Royal Academy annual summer exhibition in 1919. It appears as number 1586 in the exhibition catalogue of that year. Another cast is in the Williamson Art Gallery and Museum, Birkenhead.Condition Report: The bronze has a matte green patination, with some slight wear to the tip of the nose and around the truncation where it's a warmer, browner colour.There are chips to the front and rear corners of the plinth, as well as some shallow losses to the rear moulding of the base. One potential diagonal repair to one of the corners of the plinth, where there is a darker green mark, though if this is a repair it is subtly and sympathetically executed. No damage detected to the bronze itself.Condition Report Disclaimer
Lot 412
A South German carved and polychrome painted softwood bust of Saint Paul, early 16th century, likely Swabia or Bavaria, the bearded subject portrayed to waist-length, wearing a buttoned jacket and a draped cloak, and holding attributes of book and sword, on a waisted octagonal socle, the rear applied with a paper label bearing inscription for the 'collection of the late Archbishop of Rothenburg' in brown ink, 56cm high overallCondition Report: The lot bears the usual minor marks, knocks and scuffs overall consistent with age.Some darkening and losses to the polychromy overall , including the hands and attributes.Old loss to the rear of the head, and to a section of the sword, and an old loss to the central section of the jacket. Old pin-repair to the right hand. Splits to socle and evidence of old worm (non live).Condition Report Disclaimer
Lot 410
Attributed to the workshop of Hans Klocker (Brixen, South Tyrol, fl. circa 1474- 1500), a carved and polychrome painted head of a Bishop Saint, last quarter 15th century, possibly representing St Willibald, the subject portrayed facing forward, with cropped hair and wearing a mitre, mounted to a later velvet-covered plinth, approximately 41cm high excluding plinth, 58cm high overallProvenance: acquired by the present owner from Daniel Katz, LondonPublished: Daniel Katz, European Sculpture, London, 2004, illustrated p. 27.The present bust, with its idiosyncratic yet precisely carved features, bears strong similarities to works by Tyrolean sculptor Hans Klocker, who was active in present day Bressanone, Italy, and whose known commissions include the high altars at St Leonhard in Passíria, and the church of the Assumption in Cáldaro. Klocker's attention to naturalism was praised as early as 1482, when the Bishop of Brixen described him as 'highly renowned for the faithfulness and artistry of his work'.Related examples include the busts of Bishop Saints in the collection of the Museum of the Diocese of Brixen, which portray the subjects wearing mitres with elaborately tooled grounds similar to the one in this lot. The mitre of the Blixen museum busts painted with coloured stones. The circular apertures to the strapwork on the headdress of the present sitter suggest that the mitre of the present lot may once also have been adorned.The slender features, large almond-shaped eyes and hairstyle also show similarities to the full-length figure of St Leonard attributed to Klocker, previously in the collection of Prof. Dr. Rudolf Leopold, Vienna.Comparisons between the present bust and the figure of a Saint exhibited at the Louvre in 1991-2 have also been drawn, and a similar bust of an abbot saint in the Thyssen-Bornemisza collection is known. Both are noted in Sophie Guillot de Suduiraut, Sculptures allemandes de la fin du Moyen âge: dans les collections publiques françaises : 1400-1530, 1991, p. 152.A model of a monastic Saint attributed to Klocker, with similar stylistic attributes, was sold at Sotheby's New York, 27 January 2011, lot 387, $37,500 including premium.Comparative literature: R. Kahsnitz, Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Munich, 2005, p. 212.Condition Report: The bust bears the usual minor marks, knocks and scuffs overall consistent with age.There are losses to the gilding and polychromy, primarily to areas of the mitre, the eyebrows and to the nose.There is a section of replaced softwood to the rear tip of the mitre, which is likely an old repair.There is also a repaired split to the front of the mitre (circa 10cm diagonal)Old chips and losses to the rear and sides of the hair, and a scattering of old worm (doesn't appear to be active).Possible retouching to polychromy, particularly the irises.Minor wear and scuffing to velvet base.The bust is fragmentary in nature and would likely have been part of a larger figure of a Saint.Condition Report Disclaimer
Lot 427
An Italian patinated bronze bust of a young Emperor, possibly Tiberius as a youth, 17th century, of small proportions, the truncated subject portrayed with the head slightly inclined to sinister, with a diagonal sash across the chest, mounted to a later bronze waisted circular socle and square section base, the plinth indistinctly inscribed Young Galba to rear, the bust approximately 8.5cm high, overall height circa 11cmProvenance: from the estate of the late Betty, Lady GrantchesterCondition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a shiny reddish brown, the surface not entirely smooth, commensurate with age of this bronze.There are a handful of small casting inconsistencies including a tiny aperture to the hair. The rear is irregular and hollow-cast (to the head), and is of irregular shape.There is a small loss to the right side of the chest, as can be seen in the photographs.There is some lighter residue surrounding the buckle on the sash, which may just be a bit of dirt.There is a slightly raised patch of lighter metal near the socle, either an inconsistency or possibly to secure the lot to the later square socle.Some slight rubbing to the little plinth.Condition Report Disclaimer
Lot 847
A Florentine Carrara marble bust of 'la Sulamitide' by Galleria Fratelli Lapini, in the manner of work by Pietro Bazzanti (1825-1895), late 19th century, the maiden portrayed in Levantine costume, the roundels to her headdress inscribed SO LA MI TI DE, with roses to the truncation, the reverse inscribed G. ria F. lli LAPINI FIRENZE 1896, 49cm highThe subject is likely inspired by 'La Sulamitide', a 1739 play by Giuseppe Maria Ercolani, and the subsequent 1753 opera of the same title by Domenico Fischietti. A bust of the same subject though slightly different in dress was recently sold at Sotheby's, 18 June 2020, lot 121 (£7,500).
Lot 512
A London Annual International Exhibition of all Fine Art Industries and Inventions bronze medallion 1874, by G. Morgan, one side with a profile bust of Prince Albert, together with a French bronze medallion with bust of Napoleon Bonaparte, dated 1840 by Rogat, a Victorian diamond jubilee coin, a medallion dated 1757 Frederick of Prussia, Defender of the Protestants, and a medallion commemorating the marriage of the Prince Wales and Princess Alexandria on March 10th 1863 (5)
Lot 2019
Reliquienbüste Italien oder Spanien, 18./19. Jahrhundert H. 50 cm Laubholz, mit Sockel vollrund gearbeitet. Im Boden Nadelholz. Gefasst und vergoldet, teils übergangen. Leichte Alterssch. Provenienz: Aus einer württembergischen Sammlung. AN ITALIAN OR SPANISH RELIC BUST, 18th/19th century. Hardwood, carved with base in full round with polychromy and gilding. Some retouches, worn.
Lot 2246
Allegorie des Frühlings und des Sommers Frankenthal, um 1770 H. 7,3/16 cm Modelle von Konrad Link. Damenbüsten mit Hut und Blütenkränzen auf quadratischen Sockeln mit Blumenmalerei. Polychrom staffiert und ziervergoldet. Eine Büste im Boden mit bekrönter CT-Marke, die andere mit Gips gefüllt. Sockel mit Ritzzeichen "N3". L. best., min. rest. Vgl. Hofmann, Frankenthaler Porzellan, Bruckmann/München 1911, Tafel 86. A PAIR OF TWO FRANKENTHAL PORCELAIN BUSTS depicting Spring and Summer on rectangular floral pattern bases, c. 1770. Models by Konrad Link. One bust marked in blue with crowned CT-mark, the other bust bottom filled with gesso. Bases marked in paste "N3". Chipped, min. rest.
Lot 2190
Imperatorenbüste Italien, 20. Jahrhundert H. 36,5 cm Kaiser Nero. Kopf aus Porphyr, Korpus aus Brescianer violett-weißem Marmor mit Medusenhaupt auf der Brust, Sockel aus weißem Marmor. Min. Chips. MARBLE BUST OF ROMAN EMPEROR NERO, Italy, 20th century. Porphyry head, body of Brescia Italian violet and white marble, the base of wihte marble. Some chips.
Lot 2225
Klassizistische Kaffeekanne mit Sphingen-Bekrönung Lüttich, um 1815/30 H. 35 cm Ovoider Gefäßkörper mit Bordüren aus Akanthusblatt, Palm- und Lanzettblättern. Tierkopfausguß, Holzhenkel und zweigesichtige Sphinx als Deckelbekrönung. Belgische Stempel für 833/1000 Silber, Meistermarke des Henri Joseph Lambermont (1765-1831, tätig 1798-1831). Ca. 1476gr. L. ber. Lit. R. Stuyck, Belgische Zilvermerken, Liège, Nr. 4311. A BIG CLASSICAL BELGIAN SILVER COFFEE POT, Liège, c. 1815/30. Foliage pattern, harpy head spout and a Sphinx double bust on top of lid. Belgian marks for 833/1000 silver, maker's mark of Henry Joseph Lambermont (1765-1831, active in Liege from 1798 to 1831). C. 1476 g. Minor wear.
Lot 70
Philip Flanagan (b.1960) Portrait Bust of Seamus Heaney Bronze on limestone base, Signed with initial 'F' and numbered 2/9 Also signed and dated 1990 by Seamus Heaney Philip Flanagan's heads of Seamus Heaney, Michael D. Higgins and John Hume formed part of the group of works completed between 1988 and 1996 and exhibited as Bronze Voices. The twenty-two sitters included carry a resonance that belongs to a very particular and significant period in Irish cultural and political history. While the characters of Flanagan's sitters are at the heart of these works, they are also closely related to the highly abstracted three-dimensional heads he constructed while studying at Camberwell College of Art in London. With this formal analysis of the construction of the skull as his starting-point, these portraits move beyond a simple likeness or narrative and avoid any reliance on a particularly familiar element of a sitter's appearance. A comparison might be made with the British painter Euan Uglow, an earlier student at Camberwell, whose paintings of figures were absorbed with their construction, and the positioning of form in space, to achieve the most realistic and unified depiction of their subject. This detachment is held in balance by the artist's empathetic and sincere response to each individual sitter. Flanagan explores the gradual revelation between artist and sitter that goes beyond the act of looking and that conveys a more complete experience of a human presence. Seamus Heaney was a close friend of the Flanagan family and there is a sense of confidence and intimacy in this portrait. The highly physical nature of the surface emphasises its materiality as sculpture, with a loose treatment of the poet's hair balanced by the more formal structure of his features. There remains an elusive quality to his expression that suggests the complexity of Heaney's identity, a man connected with the physical landscape but whose response to it is expressed in thought and language. The head of Michael D Higgins is simplified at times almost to a point of abstraction. We are conscious of the sculptor's intervention, with marks left in the surface of the head that define its planes and recall the emphasis on drawing in space during Flanagan's training at Camberwell. In this work, he concentrates on an expression, Higgins' striking, almost inward gaze, rather than on aspects of individual features. While these two heads seem to have been directly related to concepts inspired by their sitters which elude a particular time, Flanagan notes, in relation to the third work here, that the 'triangular markings from the eyes to the mouth and down each side of the forehead is used to express the strain I could see John Hume was under during his brokering of the ceasefire', making a very definite connection between his subject and the daily events of his life. While Heaney and Higgins both appear to have their thoughts elsewhere as they are sitting, Flanagan creates the sense of a more guarded engagement with Hume. The gaze is direct but slightly withheld, perhaps because of the distance afforded by Hume's glasses, and his mouth is half-open as if deciding whether to speak. Flanagan's fluid modelling is his highly personal response to each sitter and reveals how significant the experience of sitting is to the evolution of a work. Rather than appearance being something detached and defined, Flanagan's experience of the subject's presence and their own personal history shapes his technical response. Patination is also significant for Flanagan; while he sought a 'brooding quality' in the darker patina of John Hume's head, the paler tone used for the portrait of Michael D. Higgins was a deliberate parallel to the Egyptian portrait sculpture that had inspired his approach to this work. He often seems to locate a single idea that underpins each work; for example, in portraying Seamus Heaney, 'the way the clay is modelled...reminds me of bog cuts... and I hope it gives the impression of Heaney as a bog king'. While these three subjects undoubtedly each carry strong individual associations, Flanagan's concentration on creating hieratic images that pass beyond the personal and become enduring images of human beings perhaps explains why Kenneth Jamison, on seeing Bronze Voices laid out formally in an exhibition, recalled the classical heads in the Palazzo Nuovo on the Capitoline. Like their Roman equivalents, this is a gathering-together of remarkable people but also an exploration of the possibilities of sculpture. Dickon Hall, November 2020
Lot 275
A pair of reverse glass paintings of King George III and Queen Charlotte, India or China, late 18th/early 19th century, each portrayed at bust length, the female sitter in an oval reserve, in ebonised frames, 58 x 43cm overallA similar portrait of George III was included in a set sold at Christie's South Kensington, 12 June 2014, lot 167 (£5,625 for the set). Another example of similar handling is included in the collection of the Philadelphia Museum of Art, 1960-172-1.
Lot 60
A Queen Anne walnut side chair, circa 1710, in the manner of Giles Grendey, the shaped top rail centred by a gilt armorial, incorporating a boars head, a stag and an armoured bust, above the rectangular splat, the seat rails with a shaped apron, on scroll moulded tapering cabriole legs, joined by a turned H-shaped stretcher and terminating in shaped pad feetCondition Report: Marks, scratches and abrasions, old chips and splits comensurate with age and use. Some old repairs, some old filler used to disguise some losses. some old worm damage/ holes in areas throughout but none weakens the structure of any elements. Good original surface, colour and patina throughout with some fading. The seat rail is original throughout. The chair is of solid structure. No apparent old breaks to the legs. The front left foot has previously been cleaned detached and re-glued. As photographed, the caning of the panels to the back and the seat is lacking. The painted and gilt armorial crests to the cresting of the back appear original. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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