There are 3361 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Goldscheider Pottery model of a lady with a Borzoi by Josef Lorenzl, model no. 7722, modelled as a naked lady standing before her borzoi dog in broad brimmed hat and holding a large lace fan, printed and impressed marks, facsimile signature, professionally restored, 36cm. high ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no.6775, modelled as a woman with orange ringlets, glazed in colours, another Goldscheider mask of a lady raising her hand to her neck, model no.8033, and a small, modern patinated metal wall mask, printed and impressed marks, minor professional restoration to tip of black hair, 27cm. high (3) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A large Goldscheider Pottery model of a lady walking a Borzoi dog designed by Claire Weiss, model no.7367, modelled in long floral blue dress and broad brimmed hat, glazed in colours, printed and impressed factory marks, facsimile signature to base, minor professional restoration to dog, 41cm. high LiteratureOra Pinhas, Goldscheider, Richard Dennis, page 132 for a comparable figure illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a lady with a hound designed by Stephan Dakon, model no.6756, glazed in colours, printed factory marks, restored tail, 31cm. highLiteratureOra Pinhas, Goldscheider, Richard Dennis, page 132 where the figure is suggested to be Marlene Dietrich. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A large Art Nouveau Goldscheider illuminating fish pond designed by Otto Petri, model no.3531, modelled as two young children standing on a rocky outcrop, looking down into clear glass fish bowl, impressed marks, damages, 62cm. high (2) LiteratureOra Pinhas, Goldscheider, Richard Dennis, page 46 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no.6542, model as a woman with stylised features and orange hair, holding a fan to her face, glazed in turquoise, orange and black, printed and impressed factory marks, 26cm. high LiteratureOra Pinhas, Goldscheider Pottery, Richard Dennis, page 168 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a Skier designed by Stephan Dakon, model no.7149, the young woman modelled standing, glazed in colours printed and impressed factory marks, 30cm. high LiteratureOra Pinhas, Goldscheider, Richard Dennis, page 128 for a comparable example in a blue colourway. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
The Captured Bird a Goldscheider Pottery figure designed by Josef Lorenzl, model no. 5434, modelled as a female dancer with arms outstretched, her cape with blue butterfly wing design, impressed and printed factory marks, facsimile signature, restored hands, 45cm. high LiteratureOra Pinhas, Goldscheider, Richard Dennis, page 119 for an identical figure illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A pottery model of a dancer in the manner of Goldscheider, modelled standing with outstretched arms, the cape modelled in low relief with peacock feathers, in colours, indistinct printed mark to base, professional restoration to hands, 28cm. high ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no.7695, stylised features, glazed in red, off-white and turquoise, another Goldscheider Pottery mask with flowing black hair and another German wall mask, printed and impressed factory marks, original paper label, 24cm. long (3) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A modern model of woman in the manner of Goldscheider Pottery after a design by Thomasch, modelled, semi-naked wearing stockings, a red cape over her shoulders and exotic headdress, painted in colours, printed gilt Goldscheider mark, 47cm. high LiteratureOra Pinhas Goldscheider, Richard Dennis Publications, page 111 for two examples of this figure illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery Butterfly Girl designed by Josef Lorenzl, model no.5267, modelled standing holding a long flowing Butterfly dress, impressed and printed factory marks, 44.5cm. high LiteratureOra Pinhas Goldscheider, Richard Dennis, page 146 for a comparable figure. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a Flamenco dancer designed by Claire Weiss, model no.7511, modelled standing in long, flowing polka dot dress with black lace shawl, holding a red fan, in colours printed factory marks, impressed marks, 40.5cm. high ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no. 7081, modelled as a woman with stylised features, holding an orange mask, in colours impressed and printed factory marks, 28cm. high LiteratureOra Pinhas, Goldscheider Pottery, Richard Dennis, page 175 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A large Goldscheider Pottery model of two Borzoi dogs, no.6011, one standing the other lying down, glazed in colours, another Goldscheider Pottery model of a lying Borzoi no.4535, a pair of Staffordshire flat back hounds, and three other pottery models of hounds, impressed and printed marks, 44cm. wide (7) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no.6542, model as a woman with stylised features, holding a fan to her face, glazed in turquoise orange and black, printed and impressed factory marks, minor professional restoration to ringlets, 25cm. high LiteratureOra Pinhas, Goldscheider Pottery, Richard Dennis, page 168 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery wall mask, model no.6335, modelled as a woman with stylised features wearing a blue beret, in blue and orange, printed and impressed factory marks, 29cm. high LiteratureOra Pinhas, Goldscheider Pottery, Richard Dennis, page 171 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery Butterfly Dancer lamp base probably designed by Josef Lorenzl, model no.5775, modelled as a young lady holding the hem of her 'butterfly wing' dress' on domed base, with shade, impressed and printed factory marks, small glaze chip to back, 41cm. high (figure) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a female dancer designed by Josef Lorenzl, model 5822, modelled standing draped in a floral patterned shawl, on domed base, glazed in colours, impressed and printed factory marks and facsimile signature, 47cm. high LiteratureOra Pinhas Goldscheider, Richard Dennis Publications, page 118 and 152 for two comparable examples illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery bust, model no.7379, modelled as a female with stylised features and blue ringlets, on blue base, and another Goldscheider Pottery mask of a woman with a white headscarf, model no.7883, printed and impressed factory marks, 20.5cm. high (2) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a Woman and Dog in a Skiff designed by Stephan Dakon, model no.7256, she modelled in a one-piece trouser suit and broad brimmed hat, painted in colours, impressed and printed factory marks and facsimile signature, professional restoration, 38cm. wide. LiteratureOra Pinhas Goldscheider, Richard Dennis Publications, page 137 for two comparable examples. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery Comedy wall mask, model no.6288, modelled as a woman with stylised features and blue hair, holding a mask to her face, glazed in colours printed and impressed factory marks, 35cm. long LiteratureOra Pinhas, Goldscheider Pottery, Richard Dennis, page 171 for a comparable example illustrated. ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a woman with a fan designed by Stephan Dakon, model no.6214, the elegant lady modelled holding a large green ostrich feather fan and a patterned drape trailing behind, in colours impressed and printed factory marks, small frit chip to base rim, 33cm. highLiteratureOra Pinhas Goldscheider Richard Dennis Publications, page152 for a comparable example illustrated.ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A rare Goldscheider Pottery model of a woman holding a fan designed by Josef Lorenzl, model no.7544, modelled standing, naked holding a blue fan to her body, on domed base, glazed in colours impressed and printed factory marks, facsimile signature, professional restoration to base and ankles, 36cm. high LiteratureOra Pinhas Goldscheider, Richard Dennis Publications, page142 for a comparable example illustrated.ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
A Goldscheider Pottery model of a dancer designed by Josef Lorenzl, model no.7582, modelled standing with arms outstretched, holding her dress hem, in colours, on triangular base, impressed and printed factory marks, 34cm. high ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.
AUGUSTE RODIN (1840-1917)Cariatide tombée portant sa pierre, petit modèle signed 'A. Rodin' (on the left side of the base), inscribed with the foundry mark 'Alexis Rudier. Fondeur. Paris.' (on the back of the base) and stamped with the raised artist's signature 'A. Rodin' (on the inside of the base)bronze with dark brown patina44.3 x 28.9cm (17 7/16 x 11 3/8in).Conceived circa 1881, this bronze version cast by the Alexis Rudier foundry in an edition of over 12 between 1902 and 1951.Footnotes:This work will be included in the forthcoming Auguste Rodin Catalogue critique de l'oeuvre sculpté, currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceWalter A. May Collection, Pittsburgh.Florence & Walter A. May, Jr. Collection, Pittsburgh (by descent from the above).Private collection, US (by descent from the above).Private collection, US (by descent from the above).LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1944, no. 63 (another cast illustrated p. 27).G. Grappe, Le Musée Rodin, Monaco, 1947, p. 141 (another cast illustrated pl. 43).J-F. Chabrun & R. Descharnes, Auguste Rodin, London, 1967, p. 80 (another cast illustrated).B. Champigneulle, Rodin, London, 1967, no. 56 (another cast illustrated p. 134).L. Goldscheider, Rodin Sculptures, London, 1970, p. 117 (another cast illustrated pl. 20).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum, Philadelphia, Philadelphia, 1976 (other cast illustrated pl. 25).M. Busco, Rodin and His Contemporaries, The Iris & B. Gerald Cantor Collection, New York, 1991 (another cast illustrated pl. 25; marble and stone versions illustrated pls. 22-24 & 26).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. I, Paris, 2007, no. S.477 (another cast illustrated p. 245).Auguste Rodin's Cariatide tombée portant sa pierre, petit modèle is a poignant example of the master sculptor's ability to imbue classical forms with deep emotional resonance. Conceived in 1881-1882 as part of Rodin's monumental project La Porte de l'Enfer ('The Gates of Hell'), this work demonstrates both his innovation in representing human struggle and his shift towards a more personal and expressive approach to sculpture.Rodin's La Porte de l'Enfer was inspired by Dante Alighieri's (c. 1265-1321) La Divina Commedia ('Divine Comedy', c. 1308-1321), particularly the first of the three major sections, Inferno. It was commissioned in 1880 as the entrance to a proposed Musée des Arts Décoratifs in Paris. Although the museum was never built, the monumental portal occupied Rodin for decades, providing the source material for some of his most iconic sculptures, including Le Penseur ('The Thinker') and Le Baiser ('The Kiss') (see, for example, lots 110 and 141). Cariatide tombée portant sa pierre was originally positioned at the top of the left pilaster of the gates, her form bent and crushed by the stone she bears, a metaphor for the weight of human suffering and destiny.A caryatid traditionally refers to an architectural figure, often a female, used as a supportive column or structure in place of a pillar. The origins of caryatids trace back to Ancient Greece, particularly the Erechtheion on the Athenian Acropolis (421-406 B.C.), where six serene women uphold the structure of the temple. However, in Cariatide tombée portant sa pierre, Rodin transforms this classical figure into something far more human and tragic. Rather than a stately, strong column, Rodin's caryatid is crushed under the weight of her stone, a symbol of human suffering and perseverance. This particular version, where she bears a large stone rather than an urn, carries a greater emphasis on the sense of physical as well as emotional burden. The substitution of the stone for the urn in fact came to Rodin at the suggestion of a client.Rodin's interpretation of the fallen caryatid is not merely an architectural ornament but an exploration of the psychological toll of existence. The twisting form, with its hunched shoulders and bent knees, draws the viewer's attention to the weight the figure bears, while her downward gaze and bowed posture suggest a deeper internal struggle. Rodin was influenced by Michelangelo (1475-1564), and, like the Renaissance master, he imbued his figures with a sense of inner turmoil, using their physicality to express emotional states. The art historian Albert E. Elsen described Cariatide tombée portant sa pierre as: 'crucial in Rodin's development, for it was made when he began to move away from Michelangelo's influence as seen in Adam, Eve, and The Thinker. Rodin began to ask himself, 'Why not work directly from life?' The results contributed greatly to his reputation for originality, an explosive productivity in the early years of working on The Gates and an expansion of body language in sculpture' (A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2003, p. 232).The petit modèle of Cariatide tombée portant sa pierre, standing at 44 cm, reflects Rodin's meticulous attention to detail and his ability to translate grand, monumental ideas into smaller, intimate works. The fluidity of the figure's form encourages viewing from multiple angles, each revealing new aspects of the sculpture's shadowing and surface texture. In this model, Rodin juxtaposes smooth, modelled flesh with the rough, craggy surface of the stone, heightening the visual drama and tension.The provenance of this particular sculpture adds to its significance as a work of art. As with Anto Carte's stunning Maternité (see lot 111) it comes to auction for the first time from the esteemed collection of Walter A. May, a renowned Pittsburgh collector, whose discerning eye and passion for art led to the creation of a superb collection in the early 20th century. His name was a staple in the Carnegie Institute's publications and exhibitions of the time, having regularly loaned many works for exhibition when called on to do so.The work stands as a testament to Rodin's mastery, with variations of this model housed in some of the world's most prestigious institutions, including the Musée Rodin in Paris, the Metropolitan Museum of Art in New York, the Musées Royaux des Beaux-Arts in Brussels, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London. The presence of this sculpture in such distinguished collections underscores its enduring importance and influence in the history of modern sculpture.Cariatide tombée portant sa pierre, petit modèle is a rare jewel at auction, particularly with such concise and illustrious provenance. It is not only a superb example of Rodin's artistic genius but also a work with profound emotional and symbolic depth. Its rarity at auction, combined with its prestigious provenance, makes it a remarkable opportunity for collectors.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
A late 19th century Friedrich Goldscheider life size cold painted terracotta figure of a black boy seated upon a bamboo and wicker stool, impressed, 33cm wide, overall 116cm high Overall looks to be in good original condition, some tiny chipping to the front edge of his shorts and a little slight rubbing scattered here and there, stool looks to be original and is certainly appropriate for the figure.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Goldscheider painted earthenware lamp modelled as Pandora, impressed marks, 29cm wide, 70cm high Looks to be in honest condition, albeit a little dusty with numerous small scratches and scuffs to the paint work, little finger of her right hand is broken away and missing, looks to require re-wiring.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Goldscheider terracotta bust c.1900, 'Lucrece', designed by Simon Montenave for Goldscheider, modelled as the Roman noblewoman Lucretia, in polychrome, signed Montenave, and numbered '2434/22/26',26.5cm wide13cm deep25.5cm highCondition ReportWith rubbing to the decoration, particularly around the shoulders and hair. Some marks to the side of the nose. With dust and would benefit from a clean.
LITERATURE. A COLLECTION OF BOOKS RELATING TO SCULPTURES, RUGS AND CARPETS including: Mackay (J), The Dictionary of Western Sculptors in Bronze, Horswell (J), Bronze Sculptures of 'Les Animaliers' Reference and Price Guide, Goldscheider (L), The Sculptures of Michalangelo, Ford (P.R.J.) Oriental Carpet Design and other related books (A lot)ProvenanceThe contents of The Grange, Wendover.
Model 7582, depicting a dancer in a split skirt, holding the ends of the skirt as she leans back. The skirt is emerald green and decorated with flowers. A Goldscheider silver sticker on the black triangle base. Goldscheider backstamp. Artist's engraved signature on base. Artist: Josef LorenzlIssued: Circa 1937Dimensions: 8.25" L x 13.5" W x 13.5" HManufacturer: GoldscheiderCountry of Origin: AustriaCondition: Age related wear.
A young woman with short brunette hair wearing rosy-pink pjs with purple-yellow flowers. Goldscheider Vienna backstamp and engraved on top of the base. Artists? initials on the base. Artist: DakonDimensions: 4.75" L x 7.5" W x 14" HManufacturer: GoldscheiderCountry of Origin: AustriaCondition: Age related wear.
Exquisitely hand decorated Art Deco style figure of an Egyptian dancer. Artist signed. Impressed 5281 846 16. Goldscheider Made in Austria backstamp. Artist: Josef LorenzlIssued: c. 1920sDimensions: 9"L x 5.5"W x 17.75"HManufacturer: GoldscheiderCountry of Origin: AustriaCondition: Age related wear.
Art Deco style, depicting a dancing flapper in a beautiful vibrant butterfly wing dress. Artist signed. Marked 5715 30 16. Made in Austria. Goldscheider backstamp. Artist: Josef LorenzlIssued: c. 1926Dimensions: 10.5"L x 6.5"W x 15"HManufacturer: GoldscheiderCountry of Origin: AustriaCondition: Age related wear.
Assorted Ceramic Animal Models and Figures, including: Herend Rabbit, Goldscheider Zebra Bookend, Two Royal Crown Derby Imari Paperweights, Royal Doulton 'The Poacher' HN2043, an Italian glass model of a dolphin and another of penguin (two trays)Glass Fish - Appears in overall good condition
Friedrich Goldscheider Wien, Figur "Aida"Modell von Josef Lorenzl, um 1924. Steingut, polychrom glasiert. Rückseitig am Gewand signiert "Laurenzl". Im Stand bezeichnet "MADE IN AUSTRIA, Goldscheider Wien" (schwarze Glasurstempel), 5281, 384, 4 (geprägt), Malerzeichen (handschriftlich, schwarz). H 47 cm.- Leichte Altersspuren. Farbe stellenweise etwas berieben. Kleine Reparaturstelle (Kopfband).
Loading...
