George Kyeyune (1962-) Figural abstract signed and dated 'KYEYUNE 96' (lower right) oil on canvas 65 x 96cm Known as an artist, sculptor and professor, Dr George Kyeyune is today considered one of the foremost painters of everyday life in his native Uganda. Born into a large, traditional Ugandan family in 1962, Kyeyune’s aptitude and enthusiasm for art was evidence early in his childhood – he recalls using the coarse ground as a canvas and drawing pictures on the floor just after it had rained. Upon his graduation in 1981, Kyeyune enrolled at the prestigious Margaret Trowell School of Fine Arts, before obtaining a master’s degree in sculpture from the Maharaja Sayajirao University of Baroda, India and later, from 1999, studying for his PhD in Art History at the School of Oriental and African Studies, having been awarded a scholarship from the Commonwealth Scholarship Commission.Rendered in a typically muddy and organic palette of earthy reds and terrestrial browns, the present lot is characteristic of Kyeyune’s artistic language, which is celebrated for its immediacy and informality.
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Gilt bronze and carved alabaster sculpture modeled as two lovers, a knight and a lady. The two figures stand on a bronze base that is mounted on a marble block. Germany impressed to base. Schmidt signed on the bottom edge of figural lady. RM impressed foundry marked. Artist: Erich Schmidt-KestnerIssued: c. 1920Dimensions: 8"L x 5.25"W x 17.5"HCondition: Age related wear. Restored nose, hand, and foot; lady has been remounted to base.
A late 15th century carved and polychromed wood figural relief depicting the departure of the MagiFlemish or Lower RhenishThe elaborately dressed kings all seated on horseback, their steeds with plumed bridles and bell hung tack, standing on a naturalistic humped base and raised on a later moulded rectangular plinth, 108cm high overall, 73cm wide and 24cm deepFootnotes:ProvenancePurchased by St John Brodrick, Earl of Midleton.Inherited by George Brodrick.Thence by descent to the current owner, Sir Robert Corbett, KCVO,CB.George St John Brodrick, 2nd Earl of Midleton purchased the present lot to form part of his extensive art collection in 1925. The piece was then inhereted by George Brodrick. He was educated first at Eton and then joined the Irish Guards from Cambridge. He served with distinction in Palestine before the onset of WWII and in the Norwegian campaign in the early days of the War. Here he was mentioned in despatches for gallant and distinguished conduct. He married Mhari Gourlay in the Guards Chapel in 1940. Retiring as a Captain and decorated with an MBE at the end of the War, he later moved to Dunley Manor in Hampshire. The Three Wise Men came here with him and stood in the hall until his death in 2003. When George Brodrick died in 2003, he left the statue to a close family and Irish Guards friend, Sir Robert Corbett, in his will.It is interesting to note that throughout the late 15th century, works such as the present lot, were produced in large numbers for the open market. Subjects such as the Infancy of Christ or the Passion had the most 'mass appeal' so became a huge part of the fabric of artistic production in the Low Countries. Between 1380-1550 specifically, carved wooden altarpieces became a major art industry in the South Netherlands. With their rich polychrome, and heightened realism, for many they seemed to bridge the gap between sculpture and painting.It was not until the late medieval period that the representation of one of the Magi as a Black King became more widespread. In the present lot, it is interesting that the Black Magus is leading the other Kings on their decorated steeds -typically in Adoration scenes, he would be furthest from Christ and not the most prominent (an example of this can be found in Jusutus of Ghent's Adoration scene (active ca. 1460-1480). Around the third century, writers interpreted the Magi as three kings based on the number of gifts they brought to the infant Christ. Later they were given the names Caspar, Melchior and Balthazar. It was in the eighth century that an author (only known as Pseudo Bede) spoke of a 'dark, fully bearded king called Balthazar' LiteratureP.Williamson, Netherlandish Sculpture, 1450-1550, V & A Publications, 2002.L.F.Jacobs, Early Netherlandish Carved Altarpieces, 1380-1550 Medieval Tastes and Mass Marketing, Cambridge University Press, 1998.For further information on this lot please visit Bonhams.com
Bruno Zach (Austrian, 1891-1945): A patinated bronze Orientalist figural group of 'The Slave Trader'circa 1920the crouching seated male figure clad in draped robes and headdress beside a nude maiden covering her modesty, her coiffure arranged in a stylised upswept chignon, standing on a draped platform, raised on a canted integral base, signed Zack within the cast to the rear left corner and with foundry monogram to the front left corner, mounted on a corresponding verde antico marble plinth, 70cm high overallFootnotes:Bruno Zach was an Austrian art deco sculptor of Ukrainian birth who worked in the early-to-mid 20th century. His output included a wide repertoire of genre subject although he is perhaps best known for his erotic sculptures of young women.LiteratureSee V. Arwas 'Art Deco Sculpture', Academy Editions/St Martins Press, 1992, p. 228 for a a similar study.Zachs work was cast by several foundries including Argentor of Vienna, Bergmann and Altmann AG.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Marble figural study of a male torso, mounted upon a wooden plinth, 17" high overall; together with a decorative resin bust head and shoulder sculpture, pair of turned treen candlesticks, tall crackle glaze vase, 19.5" high, another vase and group of three square glass bottles within a metal trough
Lladro glazed Spanish porcelain figurine sculpture. A figural group study with young women, children, and a dog, playing in a verdant tableau. This item has a base included which measures: 15.75"L x 9"W x 1.5"H. Signed by artist. Lladro backstamp. Artist: Salvador DebonIssued: 1995Dimensions: 14.5"L x 14"W x 7"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Large mid-20th century alabaster figural sculpture of entwined horses beside a tree stump, unsigned, approx 54 x 36 cms. (af) Provenance: formerly from Glympton Park and then by descent to the current owner. Condition Report The sculpture has a couple of small losses including one ear, ear tip, repair to the rear and forelegs, there are also natural fractures and inclusions to the sculpture.
A SANDSTONE HEAD OF BUDDHA, NORTHERN WEI DYNASTYChina, 386-534. Well carved with a slightly elongated face rendered with a beatific expression, with downcast eyes below gracefully arched brows, with a gently curved mouth breaking into a smile and a pronounced long nose, framed by a pair of pendulous earlobes, his hair swept up into a domed ushnisha.Provenance: A noted private collection in the United Kingdom.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, encrustations, small nicks, light scratches. The stone with a rich, naturally grown patina with extensive pinkish-red encrustations.Weight: 1,946 g (incl. stand), 1,633 g (excl. stand) Dimensions: Height 23.6 cm (incl. stand), 16.2 cm (excl. stand)With a wood stand. (2)Several cave complexes, commonly referred to as Buddhist grottoes, were constructed during the Northern Wei dynasty. The Longmen, Gongxian, and Yungang cave grottoes in the Henan and Shanxi provinces are the largest and most famous grottoes from this period. They consist of thousands of sculptures including stupas, stele, and figural sculptures, some with extensive inscriptions. The largest complex, the Longmen grottoes, consists of 110,000 Buddhist stone statues, more than 60 stupas, and 2,800 inscriptions carved on steles. The present lot is an example of a grotto sculpture from this period and is comparable to a sandstone head of the Buddha from the Yungang grottoes (see below).Auction result comparison: Type: Related Auction: Bonhams Paris, 13 June 2023, lot 50 Price: EUR 19,200Description: A small sandstone head of buddha, Northern Wei dynasty Expert remark: Compare the related serene expression, downcast eyes, and domed ushnisha. Note the similar size (19.2 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Sir William Reid Dick, KCVO, British, 1879-1961, Femina Victrix or The Struggle, a painted plaster model of nude woman wrestling with a python, on a naturalistic oval base signed W Reid D, 23cm high, 36cm wide, 15cm deep (ARR)Provenance: Sotheby's, London, 22 May 1996, lot 149. The Property of the Late Reverend John Watson. Footnotes: Note: An influential figural and portrait sculptor, Sir William Reid Dick served as a member of the Royal Society of British Sculptors, a trustee of the Tate Gallery, and held the position of the King's sculptor, and subsequently the Queen's. Commissions executed by Reid Dick are now held in such prestigious collections as the National Portrait Gallery, the Royal Collection, and the Tate.Also known as The Struggle, this sculpture epitomises Reid Dick's roots in the New Sculpture movement and is clearly influenced by Leighton's work Athlete Wrestling with a Python. The original plaster model was first exhibited at the RA in 1913 and in bronze the following year, an example being purchased by the National Gallery of New South Wales.
A parcel gilt silver wine goblet Stuart DevlinLondon, 1975The planished body and foot to a stylised figural stem reminiscent of a Makonde 'Tree of Life' sculpture, the cup with gilded interior and stem, 22.1cm high, approx. weight 10.7ozt Condition Report: Good overall condition. Some general surface scratching, nicking and minor pitting. A ding to the side of the cup. Some wear and fading to gilded stem. Hallmarks are clear. Steady on foot.
JOSEF LORENZL (AUSTRIAN, 1892-1950)'Ballet dancer' figural sculpture, circa 1930Bronze, cold-painted, in silver and black; on pedestal green onyx base.31 cm highSigned in cast LORENZL.Footnotes:LiteratureBryan Catley, Art Deco and other Figures, Antique Collectors' Club, Woodbridge, 2003, p. 216 (for similar model)For further information on this lot please visit Bonhams.com
JOSEF LORENZL (AUSTRIAN, 1892-1950)'Vivian' figural sculpture, circa 1930Bronze, cold-painted, silver coloured with golden highlights; on squat pedestal green onyx base.29.8 cm highTitled in cast VIVIAN with stamped MADE IN AUSTRIA/REAL BRONZE.For further information on this lot please visit Bonhams.com
JOSEF LORENZL (AUSTRIAN, 1892-1950)Art Deco figural sculpture, circa 1930Cold-painted art metal, the figure's dress decorated in flowers, raised on an onyx plinth.28.5 cm highSigned Lorenzl in the cast and stamped with foundry mark for ANR AUSTRIA.This lot is subject to the following lot symbols: ▲▲ 'Bonhams' owns the 'Lot' either wholly or partially or may otherwise have an economic interest.For further information on this lot please visit Bonhams.com
JOSEF LORENZL (AUSTRIAN, 1892-1950) FOR GOLDSCHEIDERSeated 'butterfly girl' figural sculpture, model no. 5582, circa 1924Polychrome earthenware.25 cm highUnderside with impressed and printed factory marks and model number 5582 583 19.Footnotes:LiteratureOra Pinhas, Goldscheider, Richard Dennis, 2006, p. 106 (for same model in different colourway)For further information on this lot please visit Bonhams.com
Three commemorative gifts awarded to David Dein MBE, comprising desk-top gimbal clock with thermometer from the ASOCIACION DE FUTBOL ARGENTINO, 18cm. high; a pewter tankard commemorating the 44TH ABU SPORTS GROUP CONFERENCE AND JOINT CONGRESS MAURITIUS APRIL 2009, 12.5cm; a bronze figural sculpture on a marbleised plinth base with plaque commemorating the LG AMSTERDAM TOURNAMENT 2005, 22cm., (3) The following Lots 328 to 354 are the property of David Dein MBE, former co-owner and vice-chairman of Arsenal FC and former vice-chairman of the F.A. The lots are being offered for Charity and all proceeds will be donated to The Twinning Project charity which David set up connecting football clubs with prisons helping rehabilitate prisoners.
Italienischer Bildhauer (Tätig 20./21. jh.)Paar Amoretten-Gruppen als ParkskulpturenWeißer, hellgrau geäderter Marmor. Vollplastische Darstellungen. Auf einer quadratischen Plinthe dicht aneinander stehend jeweils drei, nach außen gerichtete, geflügelte Amoretten, die Weintrauben bzw. einen Korb mit Weintrauben halten. H. ca. 106 cm.Italian sculptor active 20th/21st C.; A pair of figural marble garden sculpture groups with cupids holding grapes of vine.
Titled: Daydreaming. Impressive museum-quality bronze figural sculpture. Modeled as an Apache woman seated with a green-patinated cloak enveloping her body. Her skin appears as a rich brown and her hair has a black glossy finish. The sculpture is fixed to a dark solid wood base. Artist's signature impressed to side with the date and edition number. Artist: Craig D. GoseyunIssued: 1990Dimensions: 27"L x 15.5"W x 19.5"HEdition Number: 8 of 14 Country of Origin: United States
Sir Charles Bennet Lawes-Wittewronge, 2nd Bart., (British, 1843-1911): A carved white marble figural group of Venus and Cupid (Opus 2)The semi-clad goddess looking down on the standing winged putto, his face upheld and clutching his bow, her folded robe and jewelled belt draped across her raised left knee, her hair dressed in an elaborate curling chignon, her foot resting on a rustic outcrop, on square integral plinth base, signed to the front left corner LAWES and inscribed and dated to the right rear corner OP 2 1873, 157cm high, 72cm wide, 56cm deep overall approximatelyFootnotes:ExhibitedThe Royal Academy, Annual Exhibition, 1873, cat.1507.The entry for no. 1507 from the original 1873 Annual (now called Summer) Exhibition catalogue reads as follows:'1507 Female figure and Cupid...C.B Lawes'Sir Charles Bennet Lawes-Wittewronge, 2nd Baronet (1843–1911) was an English rower, athlete and sculptor. Educated at Eton and Trinity College, Cambridge, Charles married his first cousin Marie Amelie Rose Fountaine. After initial successes in the fields of rowing and running whilst at University, he changed direction in the later 1860's, training as a sculptor under the renowned British sculptor John Henry Foley RA (1818-1874) who was a favourite of Queen Victoria's and who made the model for the statue of Albert for the Albert Memorial. Later he trained under the German sculptor Hugo Hagen (1818-1871) before returning to London where he rented a studio in Chelsea. In 1872, he exhibited his work 'Girl at the Stream', the first of twelve exhibited works, at the Royal Academy with later works including 'Daphne' in 1880 and 'The Panther' in 1880. During this period he also won an honourable mention at the Paris Universal Exhibition in 1878. In 1882 he was involved in an infamous libel case with the magazine Vanity Fair concerning the authorship of another sculptor's work and in 1889 he took up competitive cycling. Later in 1901 along side Sir Arthur Conan Doyle, he judged the world's first major bodybuilding competition organised by Eugene Sandow at London's Royal Albert Hall in 1901. In 1906, five years before his death, Laws returned to the field of sculpture, when he executed a bronze group entitled 'The Death of Dirce' based on the Farnese Bull. This work was subsequently realised in more monumental form in marble where it was exhibited at the Franco-British Exhibition in 1908, the same year that as the bronze group was being exhibited at the Royal Academy. The marble is now in the grounds at Rothamsted. After the Law's death, his widow offered the bronze version to the National Gallery of British Art (later the Tate Gallery) where it was installed on an outside entrance where it still stands today.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Attributed to Claude Galle (French, 1759-1815): A good early 19th century French gilt bronze and rouge griotte marble figural mantel clockThe figural mount perhaps in the manner of Louis-Simon Boizot (French, 1743-1809)The arched rectangular case on a stepped rectangular pedestal, with applied winged flambé torch and fruiting laurel and oak leaf wreath mounts, and with foliate and stiff leaf cast borders, the front with an applied figural mount formed as a classical maiden, holding aloft drapery to partially conceal the dial, the whole raised on conforming rectangular plinth base and moulded foot, the rotating dial with Roman enamelled chapter ring with milled centre and poker hands, the brass twin train movement with silk suspension and outside count wheel striking on a bell, with pendulum, 53.5cm highFootnotes:ProvenanceNorman Mackinnon (1923-1989), former MD of Drambuie, Scotland and self-proclaimed 'Whisky Baron' and a collector of fine art, furniture and objects, cars, and properties. The clock stood on the mantlepiece in the grand dining room of his Edinburgh home and at the end of a dinner party when it chimed midnight he would announce to his guests that the evening was over. By repute it had been inherited from his mother Gina Mackinnon who was famous for safeguarding the Drambuie recipe. Thence by decent to the present owner.The offered lot is thought to be one of three known examples of this model attributed to Claude Galle, one of the other two being a near identical clock, excepting the case, which is in green marble, which is in the permanent collection of clocks at Belmont House, Kent. Known as the 'Amitea clock', the name is perhaps derived from 'Laudatio Luliae Amitae' which was a funeral oration that Julius Caesar gave in 68 BC to honour his dead aunt Julia, the widow of Marius with the figure to the front of the clock perhaps representing a mourning praeficae. One of the leading French bronziers of his day, Claude Galle created numerous gilt bronzes for the Royal and subsequently Imperial household. Born at Villepreux near Versailles, he was apprenticed to the fondeur, Pierre Foy at rue du Four. In 1784 he married Foy's daughter and after his masters death, took over the workshop and built it into one of the finest of its kind, eventually employing about 400 craftsmen. In 1786 he became a maitre-fondeur and in the same year received the first of many commissions from the Garde-Meuble to furnish the royal palaces. Galle moved the business to Quai de la Monnaie and from 1805 traded from 60 Rue Vivienne.Louis-Simon Boizot worked in the atelier of the sculptor René-Michel Slodtz (1705–1764) who also trained Houdon. In 1778 he was admitted to the Académie royale de peinture et de sculpture and exhibited at the yearly salons until 1800. His portrait busts of Louis XVI and Joseph II were created in 1777 and made in bisque porcelain at Sèvres. From 1773 to 1800 Boizot directed the sculpture workshop of the Sèvres porcelain Manufactory, producing the series of unglazed biscuit figures with a matte finish resembling that of marble. Boizot also created terracotta designs for gilt-bronze clock cases including the allegorical 'Avignon' clock, now in the Wallace Collection in London, which was cast and chased by Pierre Gouthière in 1777.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
After Giambologna (Italian, 1524-1608): A late 18th / early 19th century patinated bronze figural group depicting Nessus and DeianiraProbably ItalianThe centaur on rearing hind legs bearing away the young nude maiden in his right arm, on naturalistic base, raised on a contemporary rectangular stepped porphyry base, 48cm high overallFootnotes:The story of Nessus abducting Deianira was first described in Book IX of Ovid's Metamorphoses. In the story Ovid recounts Hercules and Deianira journeying back to Tyrins and coming upon a swollen river which they had to cross. Nessus, who was already carrying other people across the river, saw them and offered to help. When Hercules reached the other side, however, Nessus turned around and abducted Deianira. Hercules drew an arrow that had previously been dipped in the Hydra's blood and shot it at Nessus. The centaur, as he was dying, persuaded Deianira to collect his blood and use it as a love potion on Hercules. Deianira delivered the poisoned blood to Hercules which proved fatal (in some versions the poison is imbued in a shirt).The present lot depicts the moment that Nessus abducts Deianira. The nude female is shown in dynamic torsion, stabilising herself with one foot on his back, her arms flailing wildly and her head thrown back in fear. LiteratureF. Baldinucci, Notizie dei professori del disegno, Florence, 1681-8, Ranalli ed., Florence, 1846, reprinted 1974, IV, pp. 110-111.Edinburgh, London and Vienna, Royal Scottish Museum, Victoria and Albert Museum and Kunsthistorisches Museum, Giambologna 1529-1698 Sculptor to the Medici, 19 Aug. - 10 Sept. 1978, 5 Oct. - 16 Nov. 1978 and 2 Dec. 1978 - 28 Jan. 1979, C. Avery and A. Radcliffe eds., no. 66, pp. 109-117.C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, p. 264, no. 93.For further information on this lot please visit Bonhams.com
Items of pottery and sculpture from Africa and the Middle East to include a pair of Ibeji statuettes; two Kashan turquoise pottery dishes, possibly 12th century; and a further abstract figural wooden sculpture on a standthe Ibeji statuettes 22cm high; the Kashan dishes 18.5cm wide; the wooden statue 31cm highQty: 5The Ibeji statuettes dry with cracks in the wood, woodworm to the tops of their heads, some scuffing noticeable particularly around the faces and significant dirt on the beaded necklaces of both figurines. The Kashan dishes with craquelure and some chipping around the rims, inconsistent colour across the body of the dishes, surface dirt, significant pitting to the glaze and evidence of damp around the bottoms. The wooden sculpture with no recent signs of damage.
Rhythmic figural sculpture depicting a mother embracing her two children. All white finish with black speckles. Fixed to black block base. Austin Sculpture and artist signature impressed to back. Artist: David FisherIssued: 1994Dimensions: 7"L x 11"W x 27.75"HManufacturer: Austin SculptureCountry of Origin: United StatesCondition: Age related wear.
AUGUSTE RODIN (1840-1917) & ALBERT-ERNEST CARRIER-BELLEUSE (1824-1887)L'Innocence tourmentée par l'Amour signed, inscribed and dated 'Bruxelles 1871. Carrier-Belleuse' (on the base) and stamped with the foundry mark 'Cie Anonyme des Bronzes Bruxelles' (on the rim of the base)bronze with silvered and gilt patina65cm (25 9/16 in). highConceived in 1871, this bronze version cast by the Compagnie des Bronzes de Bruxelles by 1910.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.ProvenancePrivate collection, Belgium.Anon. sale, Sotheby's, London, 5 December 2012, lot 160.Acquired at the above sale by the present owner.ExhibitedBrussels, Musée Bruxellois de l'industrie et du travail, Fabrique d'art, Le bronze à l'oeuvre, 17 October 2003 – 10 April 2004.London, Nevill Keating Tollemache, Auguste Rodin, Sculpture, Drawings & Photographs, 6 – 30 June 2005.LiteratureS. Pierron, 'François Rude & Auguste Rodin, À Bruxelles', in La grande revue, 1 October 1902, p. 154.S. Pierron, 'François Rude & Auguste Rodin, À Bruxelles', in Études d'art, Brussels, 1903, p. 30.S. Lami, Dictionnaire des sculpteurs de l'École française au XIXe siècle, Paris, 1914, p. 283.J.E. Hargrove, The Life and Work of Albert Carrier-Belleuse, New York, 1977, p. 243.J. Van Lennep, 'Acquisitions. Un nouveau Rodin?', in La Lettre aux Amis des musées royaux des Beaux-Arts de Belgique, Brussels, July – September 1996.Exh. cat., Vers 'l'Age d'Airain', Rodin en Belgique, Paris, 1997, no. 5 (another cast illustrated p. 109).A. Le Normand-Romain, Rodin, Paris, 1997, p. 21.Exh. cat., Rodin, Les arts décoratifs, Evian, 2009, no. 6, p. 14 (the terracotta version illustrated pp. 15, 22 & 23).C. Buley-Uribe & A. Kurlander, Auguste Rodin, Intimate Works, Sculpture, Drawings and Watercolors, Photographs and Letters, exh. cat., New York, 2011 (the biscuit de Sèvres version illustrated).Exh. cat., Carrier-Belleuse, Le Maître de Rodin, Paris, 2014, no. 76 (the terracotta version illustrated).The present work is the result of a particularly fruitful collaboration between two of the leading sculptors of the 19th Century, Auguste Rodin and Albert Ernest Carrier-Belleuse. The Franco-Prussian War of 1870 led to the collapse of the Parisian market for fine bronzes and terracottas, forcing Carrier-Belleuse to relocate his studio to Brussels. In tow was his apprentice, Rodin, who had previously worked on statuettes at the master's Parisian workshop. Still relatively anonymous and yet highly technically skilled, Rodin went on to work in the studios of Brussels' leading sculptors until 1877.Carrier-Belleuse was renowned for his busts and figural groups that were executed in a decorative rococo style. The present work depicts a popular 19th Century subject, that of a young woman's sexual awakening, surrounded by winged putti who act as personifications of romantic love. The sculptural model for the present work was first attributed to Rodin by the Belgian critic Sander Pierron in the above-cited 1902 article. This attribution has been confirmed more recently by Antoinette Le Normand-Romain, Jérôme Leblay and François Lorenceau.The Compagnie des Bronzes de Bruxelles executed examples of the present sculpture in bronze, terracotta, marble and biscuit de Sèvres porcelain, with the final sculptures made by 1910. This cast is a particularly fine example, distinguished by its silvered and gilt patina which serves to heighten its decorative and romantic force as well as complement its rococo style. The original terracotta group now resides in the permanent collection of the Carnegie Museum of Art, Pittsburgh. Although scholars have remarked on the somewhat fraught relationship between the two sculptors, their mutual support did endure, with Carrier-Belleuse being among the group of artists who testified in defence of Rodin's famous Age d'Airain ('The Age of Bronze').For further information on this lot please visit Bonhams.com
ZHOU BROTHERS (ShanZuo and DaHuang Zhou) (b. 1952 and 1972) A large stylised figural sculpture signed "Zhou B. 97" to the reverse of the naturalistic base, wood with red stain, 205cm highThe Zhou Brothers are Chinese contemporary artists ShanZuo and DaHuang Zhou. ShanZuo was born in Nanning, Guangxi Province, China in 1952 and DaHuang was born in Wuming, Guangxi Province, China in 1957. They were both educated and trained in China and together they started their art career in 1973 and have been working collaboratively since. The Zhou Brothers moved to the United States in 1986 after having been at the cutting edge of the contemporary art movement in China in the 70’s and 80’s. The style of the Zhou Brothers’ work is often very abstract and has roots in the images of Chinese cave paintings. Later in their career they incorporated more Western influences into their work. The Zhou Brothers have gained many awards and honours in their career in both the United States and abroad.
PAUL DUBOIS (1830 - 1887). A LARGE PATINATED BRONZE FIGURAL SCULPTURE of saint Jean Baptiste, signed P. Dubois Rome 1861. and foundry mark for F. Barbedienne.95cm high Good undamaged condition, with no bends or breaks in the arms, neck or legs. There is a joint on his staff which was how the piece was probably made. see extra images.
FERDINAND PREISS (1882-1943). AN ART DECO COLD PAINTED BRONZE AND IVORY FIGURAL SCULPTURE of a young dancing girl, mounted on an octagonal black marble base - signed on reverse.UK Ivory Act 2018 Exemption Submission Reference - BGB96LWP 18cm high The head is slightly loose and there are traces of glue to the neck but no damage to the ivory, also her right arm has traces of glue at the top but again no damage to the ivory. all fingers are present and in good unrestored condition. Some tarnishing to the back of the dress, no damage to the marble.
JEAN ALEXANDRE JOSEPH FALGUIERE (FRENCH, 1831-1900) - 'PHRYNE', A FIGURAL GILT BRONZE SCULPTURE modelled as a nude girl mounted on an onyx base, signed and with foundry mark.27cm high The bronze is in good undamaged, unrestored original condition, there are no repairs. The base is in good condition with minor nibbles to the bottom edge.
JOSEF LORENZL. A FINE ART DECO COLD PAINTED BRONZE FIGURAL SCULPTURE depicting a naked dancer; mounted on a shaped dished green onyx base - signed.43cm wide 40cm highIn good overall condition. There are two tiny chips to the onyx base. The statue is nice and straight with no signs of repair or restoration. The silvering is in good order.
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