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Click here to subscribeJosep Bofill (Spanish b. 1942), two cast resin limited edition sculptures, brown patination, one of a stylised female nude, signed and numbered 1504/4000, with Art Foundation stamp, on rectangular white stone plinth bearing artist's plaque, H 43cm (overall), the other of a standing embracing couple, signed and numbered 1367/3999, on naturalistic chalkstone base bearing artist's plaque, H 33cm (overall) Height 42cm
19th century oak country dresser base with moulded rectangular top over three frieze drawers, central drawer flanked by cupboards, raised on a plinth base, 182cm wide, 85cm high and 50cm deep.CONDITION REPORT: Colour is faded. There are marks, stains and scratches to the top. Later handles. Base moulding is later. Later back panel. Country condition.
Victorian walnut credenza, the moulded top over panelled doors flanked by fluted columns, plinth base and turned feet, 165cm wide, 106cm high and 42cm deep.CONDITION REPORT: Small hole to the top (pencil sized). Colour fading, mainly to the front. Escutcheons lacking. Left door has a small stained area (smaller than a 10p). Good used condition.
An early 20th Century Burmantofts jardiniere and pedestal, the urn form jardiniere resting aloft a column form plinth, incised with stylised foliage and continuous scene of dogs, picked out in cobalt blue, unber and green glazes, impressed factory mark and shape number 2212, overall height 91cm.
ART DECO WALNUT DINING ROOM SUITE, comprising a dining table on curved plinth support, 185cm long, 77.5cm high, along with a set of six chairs with plain backs, cream leather upholstered seats and square tapered legs, 90cm high, and a pair of chairs with cream upholstered seats and back, 85.5cm high
JOSEF MAŘATKA 1874 - 1937: SYMPHONY 1912 Bronze 68,5 cm Marked on plinth on back: "J. Mařatka" Symphony, in which Mařatka materializes his fundamental relationship to music, was created during the period when he was executing monumental sculptures for the Municipal House in Prague (in 1911–1913 he sculpted the larger-than-life statues Drama and Music). In spite of his evident musical talent, young Josef Mařatka decided to study at the School of Applied Arts in Prague under Professor Celda Klouček (1889-1892), moving on toJosef Václav Myslbek’s studio at Prague’s Academy of Fine Artsin 1896. In 1900 he received a scholarship from the Hlávka Foundation for his sculpture Ice Harvesters on the Moldau, and he used the funds to travel to what was then the world center of art – Paris. After a rough start and unable to speak French, he entered the studio of Auguste Rodin, slowly forging a close friendship with the sculptor. It was in fact largely due to Mařatka that a large Rodin exhibition was held in Prague in 1902, which went on to have a fundamental impact on the period’s young generation of artists.Variant II is in the collections of Prague City Gallery (inv. no.: P – 742, plaster, 1913 and inv. no.: P – 1189, bronze, 1913).
LADISLAV BENEŠ 1883 - 1956: SPEED, STRENGTH, RESISTANCE 1921 Bronze, marble 70 cm Marked on back: "L. BENEŠ" and debossed mark of Brothers Barták Prague. Inscriptions along sides of plinth: "RYCHLOST/ SÍLA/ ODPOR/ VÍTĚZI SOUTĚŽE SPOLEHLIVOSTI ČESKOSLOVENSKEM 1921 - MINISTERSTVO NÁRODNÍ OBRANY" ("Speed / Strength / Resistance / Winner o Sculptor Ladislav Beneš, together with Jan Štursa and Otakar Španiel, can unquestionably be included among the most important exponents of their generation, applying a new understanding of classicism to their work. Beneš composed the sculpture, which was commissioned by the Czechoslovak Ministry of National Defense, in the spirit of a new philosophy as an allegory of movement as represented by female nudes of Speed, Strength and Resistance. The modern era can also be sensed from the automobile, from which the towering sculpted figures are thrust forward.Ladislav Beneš, who studied under Professors Celda Klouèek and Stanislav Sucharda, was a member of the Mánes Union of Fine Artists in 1907–1934 and Umělecká Beseda from 1911. Although unfairly forgotten in his home country, his work has been exhibited in Cologne, Zagreb, Belgrade, Ljubljana, Munich and Vienna.
BŘETISLAV BENDA 1897 - 1983: THE MOTORCYCLIST 1928 Bronze 25 x 40 x 17 cm Marked on plinth: "B. BENDA" and "1/5" The Motorcyclist is an exceptional and prestigious work of Civilism, an art movement celebrating technical advances. Next to Stefan’s Bugatti and Švec’s Motorcyclist, this is another example from the poetry of civilian life in which the theme of sports and competitions takes center stage. The simple modelling of the motorcycle and the rider in the helmet is remarkable.After studying at the sculpture and stonemasonry school in Hoøice, Bøetislav Benda attended the Academy of Fine Arts and studied under Josef Václav Myslbek, continuing under Jan Štursa in 1919–1922 following an interruption in his studies due to the war. In 1923 he became a member of the Mánes Union of Fine Artists. Influenced by Otto Gutfruend, he gained experience in social art in the 1920s; otherwise his figurative sculptures, which mainly focus on the female body, are categorized as part of the Neoclassicism movement. He primarily worked with bronze and marble, often for public works. Towards the end of his life he collaborated with his son, Milan Benda (*1941).
EMANUEL KODET 1880 - 1954: LILA NIKOLSKÁ 1926 Bronze 87 cm Marked on plinth on right: "E. Kodet" Desire, passion, an ode to the beauty of the female body, a story of dance, capturing graceful curves in motion – Czech sculptor Emanuel Kodet imparted all this with timelessness and lightness in this statue of a prima ballerina. The model for the statue was a real woman, dancer and prima ballerina Lila Nikolska (also known in English as Jelizaveta, Elizaveta or Elisabeth and with the variant spelling Nicolska; born Elizaveta Nikolska de Boulkin). Her dazzling beauty can be found in many artworks, including a poster by Maurice Picaud or in František Drtikol’s The Dancer series.Kodet studied at the ceramic school in Bechynì and under Stanislav Sucharda at the School of Applied Arts inPrague. He resided in Rome for one year and exhibited at the Topiè Salon inPrague. Initially influenced by the symbolism in fin-de-siecle art, his work moved towards the monumentalism formed by Jan Štursa. He has created a number of important works, including the Žižka equestrian statue on Vítkov Hill in Prague-Žižkov, the Žižka Monument in Sudomìø, the Hus Monument in Sušice, and the pilasters on Charles University’s Faculty of Arts building inPrague.His sculptures and statues are dominated by an Art Nouveau view of the world transformed into female figures and nudes. His objects are far from static, masterfully capturing movement and the sensual expression of tension with exquisitely formed female curves.
Mother-of-pearl seal Chinese, 19th Century carved as a Chinese youth performing a handstand upon a rectangular plinth, 7cm and another of a bird perched upon a fruit stalk on a stopper style base, 7cm; and a Fukien miniature figure of a seated Guanyin holding a vase, 3.5cm, together with an ivory okimono pendant, Japanese, 19th Century, 5cm long
Circle of Henry Rayburn. Portrait of Mrs. Robert Grahame of Whitehill, 1st Provost of Glasgow (1759-1851), whose portrait, by Chester Harding, was presented to the Glasgow Art Gallery. Three quarter length, in white dress, her left elbow resting on a plinth, a landscape beyond. Old paper backing with inscriptions en verso, 125x99cmProvenance: from the estate of Elizabeth Pepys-Cockerell, whose husband John was a descendant of the diarist Samuel Pepys. His ancestors had a long association with Sezincote in Gloucestershire
Victorian pitch pine housekeepers cupboard, carved and moulded egg and dart cornice above three glazed arched doors, covering painted interior with six adjustable shelves, base with two frieze drawers, three central short drawers flanked by two single panel cupboards, original brass handles, fretwork plinth width 164cm (64”), depth 50cm (20"), height 110cm (83”). Condition reports are not available for this auction
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