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Click here to subscribeA Japanese verdigris cast bronze seated Buddha, in Kalesavra Mudra upon a cupped single lotus socle showing remains of gilt decoration, set on an architectural plinth on a later green marble square base.18 cm high x 9 cm wide x 9 cm deep the figure alone.Some losses to the tops of the lotus leaves (as shown), no other major damage evident. Age-related wear and marks throughout.
An Egyptian verdigris bronze figure of Osiris, god of the underworld, on an ebonised museum-type block stand, 5.5 cm wide x 21 cm the actual figure, and a further rough cast bronze figure of Shashti and her maternal charges, on a simple open domed base. 10 cm wide x 22 cm highBoth figures, age unkown
Two model canons, comprising; a bronze example, early 19th century, with a tapered barrel and integral lug, with a later carriage, barrel 18cm longtotal 21cm long, and a brass example, late 19th century, fixed to its carriage, 24cm long (2)Condition ReportBoth with age related wear, knocks and rubbing.
§ Arthur Dooley (1929-1994), three bronze 'Workers Control of Fisher Bendix Kirkby Jan 72' fish, each moulded 'A.D. / 72' to the bodies 6.5cm wide Acquired by the vendor's husband, who was working at Conran's Design Group in Deansgate, central Manchester, at the time of the strikes. According to the vendor, he too too had come from a working class background and was thus keen to support their cause and purchased these during a working tour of the city in 1972, the year he and the vendor were married. Born on January 17, 1929, Arthur Dooley is remembered as a significant sculptor whose work was deeply intertwined with his political beliefs and advocacy for social justice. His life journey from a merchant seaman and welder to a celebrated artist is as compelling as his sculptures, which often depicted the struggles and resilience of the working class. Dooley's early life was marked by diverse and challenging experiences. Leaving school at the age of 14, he took on various jobs, including working as a merchant seaman and later as a welder at Cammell Laird shipyards in Birkenhead. These early jobs, particularly in heavy industry, had a profound influence on his artistic vision. It was during his time as a welder that Dooley began attending night classes in sculpture, which set him on the path to becoming an artist. His talent blossomed further when he enrolled at St Martin's School of Art in London, where his raw, expressive style began to take shape.Dooley's sculptures are noted for their powerful emotional impact and often feature religious and social themes. Working primarily with bronze and steel, materials that mirrored his industrial roots, he created pieces that were both robust and deeply evocative. Central to his art was a strong sense of social justice and solidarity with the working class. This commitment to social issues was not just thematic but also active, as seen in his involvement with the 1972 Fisher Bendix worker strikes in Kirkby, near his native Liverpool.The Fisher Bendix factory strikes were a pivotal moment in Dooley's life and career. Faced with job losses and poor working conditions, the workers went on strike and eventually occupied the factory in a desperate bid to save their jobs. Dooley's support for the workers went beyond mere sympathy; he actively participated in their cause, using his art and public presence to amplify their struggles. In solidarity with the workers, Dooley produced the present works as tokens to be sold at the factory gates, with the proceeds being donated to the striking workers. This involvement underscored his belief in art as a tool for social change and his deep connection to the working-class community. All three in good condition.
An Art Deco fruitwood veneered cabinet, circa 1925, designed by Clément Goyeneche (1893-1984), inset with black and white marble top above a pair of cupboard doors with octagonal cast brass escutcheon depicting seated nude figures, signed Goyeneche and Gallé, opening to reveal adjustable shelves within and raised on a curved plinth base 131 x 101 x 45cmA number of scuffs and scratches commensurate with age and use, a split to plinth on front right corner, two splits to plinth on front left corner, a gouge to the rim beside inset marble to top right-hand side. There are two small bolts/threaded rods protruding through the front of the bronze, these appear original but intended purpose is unclear. Finish likely the orininal. (Regrettably, we are unable to provide a weight)
λ ENZO PLAZZOTTA (ITALIAN 1921-1981) ICARUS Bronze Signed and numbered 3/6 Width: 102cm (40in.) Provenance: Obelisk Gallery, London Literature: Carol Plazotta and Richard O'Conor, Enzo Plazotta, A Catalogue Raisonné, London, 1986, p. 161, no. 309 (Similar cast from same series)Italian-born sculptor Enzo Plazzotta Studied in Milan at the Accademia di Brera under Francesco Messina, until the outbreak of the second World War, when he enrolled in the army. He was sent to North Africa until Mussolini's fall, and subsequently founded a partisan movement, which led to his imprisonment. Released from the prison after the war, Plazzotta returned to Brera to complete his studies. In 1957 he travelled to England to present a statuette, before deciding to establish his artistic profile in London, directing his attention towards setting up a commercial art agency. At the age of forty, Plazzotta turned his attention back to sculpting, working mainly in bronze to create sculptures of dynamic human and animal figures, with a specific interest in dancers and horses. Despite many of his sculptures being situated on the streets of London, he maintained close links to his home-country, casting much of his work at his studio in the quarries of Pietrasanta. In 1976, Plazzotta was honoured the title of Cavaliere from the Italian government, acknowledging his services to Italian art. By 1981, Plazzotta's health was diminishing due to cancer, and he passed away within the same year. Plazzotta's work has been widely exhibited globally in Europe, the United States and Australia, and features in several public and private collections including the Vatican, Rome, The Hermitage, Lausanne and The Queensland Art Gallery, Brisbane.
Ferdinand Preiss (German, 1882-1943), two cold-painted bronze and ivory figures on marble bases, one of a medieval boy holding a casket, the other of a medieval girl holding a set of keys, signed in the cast 'F Preiss', girl 7cm wide 4cm deep 16cm high (2) Provenance: Woolley & Wallis, 'British Art Pottery and Design', 20 October 2021, lot 489. Literature: Bryan Catley, 'Art Deco and Other Figures', Antique Collectors' Club, 2003. IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.These items have been registered as exempt from the UK Ivory Act 2018. Condition ReportThe boy measures 4.5 wide x 2.5 deep x 16.5cm high. A couple of breaks to the girl's keys. Some wear to gilt to both. General age-related wear to both but overall good and ready for placement. There has been a possible repair to the hand. Please see the additional images.
An ancient Cypriot polished red ware bottle-form flagon - probably Bronze Age, the globular body with rounded base painted with concentric bands and a lower band of geometric decoration, below a slightly tapered chimney shaped neck with everted rim and four incised and painted bands at the base, 26.5cm high, possibly a shipwreck find, with traces of marine encrustation to the surface.* Condition: Minor nibbles to rim. Small surface flake to body just below geometric band and some traces of marine-type surface encrustation throughout. No large chips, cracks or restoration.
A BRONZE MODEL OF A SPHINX ON ORMOLU BASE FRENCH, 19TH CENTURY AND LATER Previously a chenet, stamped indistinctly "MILMI", fleur de lys symbol and FON, and with various numbers 35.5cm high, 41cm wide, 15cm deep The collection from Trethill House, Cornwall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Not gilded to reverse and with vacant apertures from prior mounting as a chenet or fire kerb end. The whole with rubbing from age and use- loss to gilding and scattered scuffs. Lacks screws holding sphinx to base. Dirty. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A GILT BRONZE AND PORPHYRY MOUNTED TABLE CENTREPIECE ITALIAN, 19TH CENTURY With central basket on open scrolling frame, partial fitted with porphyry urn ends, green enamelled leaves, incomplete, later box 46.5cm high overall, 53cm wide at the feet Illustrated: The Connoisseur, May 1965, p.4 Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole is incomplete and lacks: 2 porphyry urn, section of green leaves, several nuts, screws, bell/swag pendants and possibly a further mount to the top. Damages to white flowerheads, losses throughout. Looks to be a combination of gilt bronze and gilt metals. Case associated and lining has perished. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
A PAIR OF ORMOLU AND PATINATED BRONZE DISHES EARLY 20TH CENTURY Each with winged diavolino child supports, on a leaf scroll base 20cm high, 19cm diameter Together with a gilt bronze figure of a standing winged cherub, late 19th century, marble base 23cm high Condition Report: Pair- dirty- some verdigris, patination rubbed and worn to figures, one base fixing nut replaced Single figure- gilding worn- some regilding applied but not professionally, lacking something he was holding to his left hand- right arm upper joint loose- rubbing and abrasion and verdigris throughout With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
A LOUIS XVI GILT-BRONZE MOUNTED WALNUT, AMARANTH AND PARQUETRY SECRETAIRE A ABATTANT IN THE MANNER OF JEAN BAPTISTE TUART, CIRCA 1770 With a white marble top and frieze drawer, the fall front enclosing shelves and six drawers, with two doors below, restporations 142cm high, 95cm wide, 39cm deep Provenance: The Hon. Claude John Yorke, and thence by descentLiterature: The Connoisseur, May 1965, p.5 Clifford Musgrave, writing in his 1965 Connoisseur article described the present secretaire and noted its similarity to a pair formerly in the collection of Queen Mary at Marlborough House Saleroom Notice: Please note the correct dimensions have been updated and differ from the printed catalogue Condition Report: Generally good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. Restorations to the veneers throughout, minor repairs, coloured to match, and re-polished.Condition Report Disclaimer
A GILT BRONZE MOUNTED MEISSEN PORCELAIN TIMEPIECE GARNITURE 18TH CENTURY AND LATER ASSEMBLED The mounts associated and including a 20th century Swiss watch movement, central timepiece holder in the Louis XV manner with extensive hard paste flower decoration in the Vincennes manner and a central 18th century putto holding a basket of flowers, the candelabra in the Louis XVI manner with 18th century figures modelled as Mars and Juno Centrepiece 31cm high overall, 28cm high, candlesticks 19cm high Provenance: The Hon. Claude John Yorke, and thence by descent. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Only one base of the figures is vaguely visible and it has plaster or infill obscuring most of it- the other two figures with glued metal bases. All figures and most of the flowers with old damages, losses and restoration- yellow under strong light and strong fluorescing under UV. Vacant metal branches with missing flowers, damages to leaves to bocage. Time piece non operative Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A FRENCH GILT BRONZE TABLE CENTREPIECE EARLY 20TH CENTURY Tole liner, fruit and flower moulded form with six candle branches 40.5cm high, 61cm wideIllustrated: The Connoisseur, May 1965, p.6 Condition Report: One section of end strapwork detached- currently with 2 temporary screws for display- and there are several other vacant screw holes suggesting that this may originally have had further applied ornament- a handle perhaps? The candles sit a little irregularly- this may because they are not in their correct position points but there are no numerals to guide correct positioning. One side drop terminal snapped. liner worn from use. Faint stamped with numerals and "B" Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co. Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer
A GILT BRONZE FIGURE OF A WINGED CHERUB FRENCH, 19TH CENTURY Of seated form playing a lyre, variegated pink marble base 38.5cm high, base 21cm wide Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Surface looks to have been lacquered- this has worn from handling and cleaning and with surface dulling and wear to extremities and around the base. Marble with edge and corner chips- some small spot old repairs Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
RICHARD WESTMACOTT (1775-1856) A MARBLE PORTRAIT BUST OF CHARLES JAMES FOX 1818 Signed and dated "RD. Westmacott R.A 1818" 70cm high It is likely that this exact bust is the one referred to in the National Portrait Gallery summation of the known portraits of the Whig statesman Charles James Fox (1749-1806): "1816- Statue by Richard Westmacott jr., whole-length seated, the Magna Carta in his right hand. Bloomsbury Square, London (illus. M. Busco, Sir Richard Westmacott, 1994, p 73). Engraved S. W. Reynolds and W. Ward 1817. A bronze model formerly at Holland House. The head based on Nollekens's 1801 bust. Separate marble busts by Westmacott sold Christie's, 28 January 1988, lot 189, and formerly at Alscot Park; bronze busts sold Sotheby's, 15 July 1998, lot 38 (as Nollekens), and in Brooks's, London." As the NPG indicates, the Bloomsbury Square statue of Fox and the accompanying separate busts may well have drawn inspiration in their depiction from Nollekens's 1801/1802 bust- a version of which is held in the NPG itself (NPG 3887). The other portrait by Westmacott is in Westminster Abbey- Fox's monument, depicted supported by Liberty, mourned by Peace and thanked by Africa. (illus. M. Busco, Sir Richard Westmacott, 1994, p 70). A bronze bust of Fox is held in the Parliamentary Art Collection.Literature: National Portrait Gallery collection catalogue: John Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760-1790, National Portrait Gallery, 2004The collection from Trethill House, Cornwall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Natural inclusions and some darker veining, thin layers of white paint to both cheeks and temple- perhaps disguising wither darker inclusions or scratches. several pockmarks notably one under chin. The signature looks to have had brownish material rubbed into it to strengthen it. Some scuffing, marks and stains around shoulders and notably around upper back edges. Edge chips and losses Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
A PAIR OF LOUIS XV STYLE ORMOLU AND PATINATED BRONZE FOUR BRANCH CANDELABRA LATE 19TH CENTURY Each with three putti supporting the branches, on circular bases 44cm high, 14cm diameter at base Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. One candlestick is lacking one branch. Formerly fitted for electricity with drill holes, Gilding rubbed and dirty. Bronze patina very rubbed. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
AFTER DEMÉTRE H CHIPARUS "Egyptian dancer" a chocolate patinated bronze in the Art Deco manner raised on a stepped marble plinth base 48 cm high CONDITION REPORTS A few areas of bad casting. There are some black marks to her shoulder and the top of her other arm. Some greeny residue, possibly casting material. There are a couple of small chips to the plinth base. General wear and tear conducive with age and use - see images for more details
A FRENCH ART NOUVEAU PARCEL GILT AND PATINATED BRONZE VASECirca 1900 Of sinuous tapering form with pierced flower head handles and a side profile of a maiden with a butterfly, inscribed to the cast ‘A. FERY’ and foundry mark 'Louchet Ciseleur Paris' to underside, 28.5cm high Provenance: Bonhams, ,London, 1 October 2014, lot 321.Condition report: Overall in good condition. Cast and finished with decoration to the front, back and sides. Very small minor scuff to the patina just beside the woman’s face. A few other extremities rubbed - eg the feet. All commensurate with age and use. Possibly there should be an internal liner, which is lacking. See extra images.
FELIX AGOSTINI (FRENCH, 1910-1980), A GILT-BRONZE ‘SQUALE’ LIGHT FITTNGMid-20th Century Signed to the reverse, ‘F. Agostino’, probably later lead weight added 39.5cm high ARR Provenance: Property from a Deceased London Estate.Condition report: Overall in good condition. The patination a little rubbed as to be expected with age and use. Minor spot of verdi gris. Signature to the base and possibly a later infilled to the back. See images. The design of this was originally conceived as a wall fighting with the lamp shade and light secured above - as shown in a Charles Paris catalogue. However, there is presently no indication as to how this was secured to the wall.
This lot contains a German bronze thimble holder which depicts a young boy in lederhosen surrounded by 6 thimble holders. It measures 4.25"H x 3.5"dia. The bottom is stamped Geschutzt. The brass bowl is made to look like a woven basket with 2 cats peering over the side. Measures 5"L x 4.25"W x 3"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
Features an early 20th century Austrian cold-painted bronze sculpture, portraying an Arab trader in a striking stance. The figure is depicted holding an antelope head, standing confidently on a detailed lion skin. At his feet rest a rifle and a collection of jars, adding to the narrative of the scene. The base bears the distinctive Bergman foundry mark, an impressed letter B within an amphora vase, along with the stamp Geschutzt and the number 4374, denoting its authenticity and craftsmanship. A fine example of the renowned Viennese bronze tradition, attributed to Franz Bergman. Artist: Franz Xavier Bergman (Austrian, 1861-1936)Issued: Early 20th centuryDimensions: 7.5"L x 3.75"W x 4.75"HCountry of Origin: AustriaCondition: Age related wear.
Majestic small bronze sculpture of a mustachioed man with pistol in hand, pressed against his chest, dashing on the back of his horse. Weight is 23.2lbs. Frederic Remington engraved. Artist: Frederic RemingtonIssued: 1861-1909Dimensions: 7"L x 16"W x 14.5"HCountry of Origin: United StatesCondition: Age related wear.
Large unpatinated bronze sculpture featuring a massive Bull by French animalier sculptor Thomas Francois Cartier who participated in the Paris Salons from 1904 onward. Carved signature on base: T. F. Cartier. Mounted on a beige color marble base. Artist: Thomas Francois Cartier (French 1879-1943)Issued: c. 1950Dimensions: 20"L x 9"W x 15.50"HCountry of Origin: FranceCondition: Age related wear.
Limited edition polychrome bronze entitled Free Puppies by sculptor Lydia Barron-Digby who depicts a barefoot young girl with a bag filled with adorable puppies. Barron-Digby uses green and brown patinas as well as light brown patina for the puppies and off-white accents for the flowers placed on the wide-brim hat. The bronze is set on a wood base with a plaque for the title and artist's name. Carved signature, date and edition number on base: Lydia Barron-Digby, 1/18, 1995. Artist: Lydia Barron-Digby (20th-21st century)Issued: 1995Dimensions: 14"L x 22"W x 18"HEdition Number: 1 of 18Condition: Age related wear.
Collection includes: George H.W. Bush Presidential $1 Reverse Proof Coin; Bush Presidential Silver Medal; Barbara Bush Bronze Medal; and 2019 George H.W. Bush US Postal Stamp. Each are displayed in original US Mint box: 5"L x 0.75"W x 7"H. Artist: Joseph Menna, Elana Hagler and Don EverhartIssued: 2020-2021Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
Collection includes: Theodore Roosevelt Presidential $1 Proof Coin; Theodore Roosevelt Presidential Medal, struck in 0.999 fine silver; and National Wildlife Refuge System Centennial Bronze Medal - Bald Eagle. Each are displaced in original US Mint packaging: 5"L x 1"W x 6.75"H. Artist: Joseph Menna, Don Everhart, C.E. Barber, George T. Morgan, Norman E. Nemeth and Donna WeaverIssued: 2013Dimensions: See DescriptionManufacturer: United States MintCountry of Origin: United StatesCondition: Age related wear.
CHINA LATE QING -REPUBLIC - AN ALBUM OF BRONZE AND COPPER COINAGE An album of 90 brass, copper and bronze coins, all with annotated descriptions, mostly dating between 1905-1920, various provinces and some recorded as unusual variations etc. Provenance: Part five of a single owner numismatic collection, assembled in the 1970s and 80s and untouched for over 30 years Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Ca. 600 BC.A Celtic or late Bronze Age solid gold ring with a polished surface. The ring is formed into the shape of a spiral with terminals at each end.Size: D:13.5mm / US: 2 1/4 / UK: D 1/2; Weight: 7.82gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1200 - 800 BC. A wonderful example of a rare vollgriff (“full grip”) sword from the Bronze Age. The sword has a large, raised centre groove, an inverted lunate guard, a three-sectioned handle and a disc pommel with a raised centre dome. The handle is adorned with circle motifs alternating with a motif of three horizontal lines. The sword’s heft and well-placed balance point indicate its superb craftsmanship. For similar see: MET Museum Accession Number: 54.46.8. Size: 520mm x 45mm; Weight: 415g Provenance: Private collection of a European collector; Ex. C. Burgauer collection, Switzerland, 1970s-1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 1200 - 900 BC.A a pair of cast Bronze Age axe heads. The first double axe head is characterised by a short cylindrical shaft hole with a collared rim, flattened top and a vertical crescent-shaped blade. A smaller horizontal blade is attached to the back. The second axe has a vertical blade and cylindrical hole for attachment to a handle. For similar see: Christie's, Live Auction 9482, The Art of Warfare, The Axel Guttmann collection of ancient arms and armour, part II, Lot. 34.Size: 330mm x 270mm; Weight: 4.4gProvenance: Property of a central London art gallery; previously in the private collection of Mr. R. Unger; acquired in the 1970s on the UK art market.
Ca. 1400 - 1000 BC.A Bronze Age spearhead with a pronounced central rib, a triangular blade, and a conical shaft. For similar see: Prehistoric Metal Artefacts from Italy in the British Museum (British Museum Press, 2007), n. 762.Size: 330mm x 55mm; Weight: 260gProvenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
X-MEN #94 - (1975 - MARVEL) KEY Bronze Age Book - The title ceased it's five-year run of reprints and resumed original material with this issue + second appearances of the 'New' X-Men - Wolverine, Colossus, Nightcrawler, Storm, Banshee, Thunderbird following their debut in Giant-Size X-Men #1 + Angel, Marvel Girl, Iceman resign & Sunfire leaves the team - Gil Kane and Dave Cockrum cover with Cockrum interior art - a condition report is available on request
This beautifully matted display includes a team photo, a bronze commemorative coin, and a limited-edition card with identifying information, all celebrating their 2002 Eastern Conference Championship. Issued: 2002Dimensions: 16.25"L x 1"W x 13"HEdition Number: 19 of 5000Condition: Age related wear.
Set of large bronze planters inspired by the iconic models from the gardens of the Palace of Versailles, dating back to the first half of the 20th century. These elegant pieces have a magnificent green patina that gives them an antique and authentic character. Made of bronze, the planters reflect the opulent and refined style of classic French design. Despite their age, they are in excellent condition, making a majestic addition to any outdoor space. Dimensions: 60 cm high x 50 cm wide x 50 cm deep.
Lady Alfred Welby original autobiography in typescript, written in her 76th year and dedicated to her children titled 'From The Golden Age To The Kitchen Sink, The Memories of a Grandmother', containing a photographic portrait of the artist at work in her studio, 130 numbered pages and copy of a letter from Lucy Baldwin at 10 Downing Street, she describes visiting H.G. Wells “he gave me the impression of a shy rather awkward diffident little man”, another of meeting Bernard Shaw “from what I could make out Bernard Shaw was only interested in and wished to talk of Bernard Shaw”, that it was around 1919 she started her career as a sculptor encouraged by Frank Dicksee, that one of her works was purchased by the Princess Royal, she talks of working on a portrait of Mrs Churchill but after her sitter fell ill the work was postponed...and was never completed. Another time whilst working on a bronze portrait of Baden-Powell and having difficulty creating the little 'wolf' badge he wore she went to the Scouts HQ and asked if they could lend her one, to which the clerk replied sternly “what do you mean, never has there been such a request, don’t you know that only the chief and His Majesty the King are entitled to wear the wolf” [Disiree Welby 1878-1969 – Sculptor, with works in the V&A)
Six: Captain A. H. Waddy, Bedfordshire Regiment, later Royal Flying Corps and Royal Air Force, who first enlisted under the Tricolour in August 1914 as a Private in the French Army 1914-15 Star (2.Lieut. A. H. Waddy. Bedf. R.); British War and Victory Medals (Lieut. A. H. Waddy. R.A.F.); France, Third Republic, War Commemorative Medal 1914-18, bronze; Inter-Allied Victory Medal 1914-19, bronze; Croix du Combatant Voluntaire 1914-18, bronze, good very fine and better (6) £400-£500 --- Alexander Harry Waddy was born at Regent's Park, London, on 25 April 1896, the son of Harry Waddy, a member of the London Stock Exchange. Educated at Cheltenham College from 1910-13, he crossed the Channel to France a short while later in order to improve his language skills. His life at this time was carefully detailed by The Evening Sentinel on 30 August 1934: 'At the outbreak of the war, he was in France, studying French, and, with a patriotism that was typical of his character, he at once joined the French Army as a private.' With the declaration of war on 29 July 1914, a call was made for foreigners residing in France to support their adopted country. While many would have preferred direct enlistment in the regular French Army, the only option immediately available was that of the Foreign Legion. On 3 August 1914 a reported 8,000 volunteers applied to enlist in the Paris recruiting office of the Legion. The speed of the German Advance in accordance with the Schlieffen Plan caught the French Army heavily by surprise, not least the enemy proximity to Paris in early September 1914. Detailing every available man to the defence of the city and famously utilising over 600 taxicabs to carry soldiers from Les Invalides to Nanteuil-le-Haudouin, some fifty kilometres away, the German sweep was halted - something which the French later termed 'The Miracle on the Marne'. With the front temporarily stabilised, Waddy returned to England and was appointed to a commission in the Bedfordshire Regiment on 11 May 1915. Posted to France from 7 July 1915 with the 1st Battalion, Bedfordshire Regiment, Waddy arrived in the aftermath of the defence of Hill 60 - likely as a replacement - and was later moved south in defence of the Somme. In 1916, the 1st Battalion witnessed heavy action at High Wood and Guillemont and took part in the Battles of Morval and Le Transloy. Transferred to the 7th Battalion, Waddy was mentioned in the Battalion war diary of 5 October 1917 during practise exercises near Irish Farm and Canal Bank, in preparation for his unit going into the line during the Battle of Passchendaele. The war diary later adds: 'The mud was very bad and duck-boards few. The men suffered considerably from cold and wet. The line consisted of shell holes filled with water.' Keen to leave the life of an infantryman, Waddy transferred to the Royal Flying Corps on 5 February 1918 and was posted to 21 Squadron. Qualifying Temporary 2nd Lieutenant (Observer) 5 April 1918, he was sent to Armaments School at R.A.F. Uxbridge for Pilot training; the war subsequently ended before Waddy had the opportunity to take on the Luftwaffe and he relinquished his commission on 9 February 1919 after taking employment as managing director of T. R. Boote Ltd, Waterloo Potteries (Tile Manufacturers), Burslem. Married to a local girl in 1918, Waddy soon became a popular and successful industrialist. Appointed Lieutenant in the 5th Battalion, North Staffordshire Regiment (Territorial Army) on 28 December 1928, he was placed in the command of "C" (Burslem) Company and set up home at Standon House, Standon. Beset by a sudden illness, Waddy died a few years later at the North Staffordshire Royal Infirmary on 29 August 1934, his loss much lamented by his family and workforce of over 250 people: 'He was a soldier of ability and a man of understanding, and he has helped, by his knowledge, fairness and grit, to keep the flag flying' (The recipient's obituary, refers). Waddy's premature death at the age of 38 years proved the first of many tragedies for his family; both of his sons died during the Second World War, the first, Midshipman Roger Latham Waddy, R.N.V.R., being killed whilst piloting a swordfish aircraft on a depth-charge practice sortie on 16 July 1941, the second, Major Alexander Peter Harry Waddy, being killed in action at Arnhem on 18 September 1944 whilst leading "B" Company, 3rd Battalion, 1st Parachute Brigade, in an attempt to destroy a panzer using a 'Gammon' bomb. Sold with copied R.A.F. Service Record, newspaper entries, and a photographic image of the recipient in officer’s uniform.
Frederic, Lord Leighton, P.R.A., R.W.S. (British, 1830-1896), The Sluggard, bronze, signed 'Fred Leighton' and with title to the front of the plinth, inscribed 'FOUNDED BY J.W. SINGERS & SONS./FROME SOMERSET' (on the plinth) and further inscribed 'PUBLISHED BY ARTHUR LESLIE COLLIE/39?B OLD BOND STREET LONDON/MAY 1?s?t 1890.' (on the plinth), 51.5cm high Note: Turning to sculpture late in his career, Frederic Leighton is considered to be the father of New School sculpture, in particular for his Athlete wrestling with a Python of 1877 and The Sluggard. The Sluggard is well-known and celebrated, and casts are in a number of prominent museum collections including Tate Gallery (London), the Ashmolean Museum (Oxford), Royal Academy of Arts (London), and the Minneapolis Institute of Fine Arts (Minneapolis, USA).The inspiration for the Sluggard came from Leighton’s life-drawing model Gaetano Valona stretching during a break between poses. The work was originally called Athlete Awakening from Sleeping, and was first executed in 1882. Leighton struck a balance between the real and the ideal in this life-size bronze sculpture of a perfect male body. Earlier models include a fig leaf which was a convention intended to neutralise any sexual appeal while the sculpture was on public display.This bronze is a sketch for the finished work and one of an edition cast by Singer and Sons of Frome, Somerset. It is the version that was produced for the collectors’ market, a reduced version of the finished work never being cast. Singer and Sons set up their new foundry capable of casting using the lost wax and sand casting processes in 1888. Rights to market the model from 1890 were bought by Arthur Leslie Collie who sold these and other New School sculpture from his joint premises with Agnew’s in Old Bond Street. A bronze cast which bore his name and that of the founder Singer and Sons was exhibited at the Arts and Crafts exhibition of 1890. By 1901 Collie was no longer associated with Agnew’s and by 1906 he was no longer listed in the art directory. Casts made under Collie’s name can be accurately dated to this period.Robert Bowman – ‘Sir Alfred Gilbert and the New Sculpture’Provenance: Formerly in the collection of Alexander Meyrick Broadley (1847-1916) and thence by descent Very good untouched condition, a glossy mid chocolate to green patination throughout, signed in the bronze and impressed to the plinth with the title and to the back of the plinth published by Arthur Leslie Colley, 39b Old Bond Street, London May 1st 1890, with foundry mark also impressed to the back of the plinth.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.
Fernand Quillon-Carrère. An Art Deco bronze figure 'Danseuse aux lances', signed in the bronze and dated 1919, on swept marble plinth, 55cm high Overall in good untouched condition, the bronze with a dark chocolate brown patination, marble base a little matted but essentially all in good order.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.
Auguste Moreau (French, 1834-1917). A large bronze figure of Perseus seated upon a naturalistic mound, with shield, helm and sword, signed in the bronze, on integral octagonal plinth, 71cm high Overall in slightly neglected condition with a matted pale chocolate brown patination showing oxidisation and dirt marks throughout, but otherwise good order.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.
Emmanuel Villanis (French, 1858-1914). A late 19th century bronze figure 'Vocation' modelled as a seated classical woman holding a book of sheet music, signed in the bronze, 26cm wide, 77cm high Overall of a light chocolate brown patination, a little darker to the crevices, a little dusty but otherwise no real faults noted.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 set of three antique French brass wall lights of demi-hexagonal lantern form, with foliate and ball crests and scroll bases, 28cm wide, 64cm high Varying degrees of weathering, metalwork faded to a dull bronze tone, some verdigris and other oxidisation to the frames, back plates are thin metal and now heavily oxidised with one missing, will require re-wiringPLEASE 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.
Albert Carrier Belleuse (French, 1824-1887). A pair of bronze figures, 'Danseurs Napolitains', each dancing, one with a tambourine, the other a mandolin, signed in the bronze, 17.5cm high Both with a slightly matted mid brown patination and slightly rubbed at the raised extremities, string on the mandolin is broken, this may be intentional, bells of the tambourine are cleverly cast loose from the main body, overall fair to good condition.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.
Eutrope Bouret, (French 1833-1906). A pair of late 19th century patinated bronze figures of Venus riding a dolphin and a nymph riding a tortoise, signed 'Bouret' in the bronze, on stepped black marble plinths, 15cm wide, 14cm deep, 45cm high Both bronzes with a rich dark chocolate brown to blackish patination, some slight rubbing of the raised extremities and the odd small scuff mark but essentially good order, both signed in the bronze of the bases, slate plinths with some tiny chipping to the corners.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.
Attributed to Josef Lorenzl. An Art Deco bronze and ivory figure of a stylish lady, on green onyx socle, 21cm high. CITES Submission reference RMYLHBET Some dirt marks and spotting to the original patination but essentially good, a little dirty and dusty on the ivory.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.
Attributed to Otto Thamm, for Fritz Heckert glassworks. An Art Nouveau (Jugendstil) iridescent glass and bronze mounted bowl, c.1900, 31cm wide, 17.5cm deep, 17.5cm high Metalwork evenly oxidised to a slightly dull light chocolate tone, otherwise very good condition.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.
Albert-Ernest Carrier Belleuse (French, 1824-1887). A large bronze figure of "La Melodie" standing perched against a pedestal, holding a lyre, signed in the bronze, 49cm wide, 79cm high Overall with a dark chocolate to light brown patination showing a little lighter on raised areas, some slight verdigris and spotting at the top of the plinth but essentially good condition.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.
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