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Click here to subscribeStefan Dakon for GoldscheiderFigural sculpture, model no. 6214, circa 1930Glazed earthenware.33cm highProduced by Goldscheider, Vienna, Austria. Underside with incised model number 6214 127 11, impressed and printed factory marks, and artist's facsimile signature.Footnotes:LiteratureOra Pinhas, Goldscheider, Richard Dennis, 2006, p. 152For further information on this lot please visit Bonhams.com
Full title: A Cambodian or Thai carved and polychrome decorated wood statue of Vishnu carried by Garuda, 19th C.Description:H 113 cm Ref.: - The sculpture expertised by MutualArt (July 30, 2013): A two-piece, polychrome Cambodian figural wood sculpture depicting the Hindu god Vishnu wielding a Nandaka, standing on the shoulders of Garuda [possibly Khmer, ca. 13th Century, Bayon Period]. - The sculpture expertised by Value My Stuff (December 15, 2019): Vishnu on Garuda, Thailand, carved and painted wood, 19th C. The sculpture in Thai style, although it might be from Cambodia as Thai style was dominant at that time. Insurance value: Euro 5.000. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
THREE BOXES AND LOOSE ORNAMENTAL CERAMICE ETC, to include a Sylvac 1969 jug, Sylvac Poodle 3110, Leonardo Collections Kestrel, Country Artists and Arden Sculptures Barns owls, Capodimonte Doves, Italian style figural sculptures including a musical example, Wedgwood Jasper wares, boxed Royal Worcester egg coddlers, Chinese horse sculpture, German Madonna and child sculpture, Sandicast Labrador and pup sculpture, Aynsley Little Sweetheart storage jars, Wade Whimsies, Japanese Chokin wares, Royal Albert four seasons collectors plates, etc
Ca. 400 AD.A finely carved grey schist palette from the ancient region of Gandhara. This shallow, bowl-shaped dish features a thick rim and a finely carved figural scene filling most of the interior, leaving the remaining space subdivided in compartments. Palettes of this type are one of the earliest finds of Gandharan sculpture, having been produced since around 200 BC, under the Indo-Greek and Indo-Parthian kingdoms. Such small dishes were usually carved in schist, serpentine or steatite, and have been recovered especially in domestic contexts, suggesting their use in everyday life as toilet and cosmetic trays.Size: L:320mm / W:320mm ; 9.09kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
ARCHIPENKO, Alexander(1887 Kiew - 1964 New York City) Figürliche KompositionOriginal-Lithografie. Verso typografisch bezeichnet "Archipenko / Figürliche Komposition. Originallithographie". [1921]. Blatt: 35 x 25 cm. Aus: "Genius. Zeitschrift für werdende und alte Kunst, 1/21". Ecken minimal gebräunt. US-amerikanischer Bildhauer ukrainischer Herkunft; zählt zu den Wegbereitern der modernen Bildhauerei. ARCHIPENKO, Alexander(1887 Kiev - 1964 New York City) Figurative CompositionOriginal lithograph. Verso typographically inscribed "Archipenko / Figural Composition. Original lithograph." [1921]. Sheet: 35 x 25 cm. From: "Genius. Zeitschrift für werdende und alte Kunst, 1/21". Corners minimally browned. US sculptor of Ukrainian origin; counts among the pioneers of modern sculpture. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
RARE BIXIE EN JADE VERT PLE ET ROUILLEÉpoque des Six Dynasties (265 -589 ap. J.-C)A VERY RARE PALE GREEN AND RUSSET JADE CARVING OF A BIXIE Six Dynasties (265-589AD)The creature resting on its front paws, the rear right haunch tucked underneath the body and the rear left extended to reach the bifurcated tail, the powerful face carved with wide bulging eyes below a pair of thick curling eyebrows and horns directed back across the head, with part open mouth and beard issuing from the lower jaw, the body delicately incised with scrolling wing motifs and scrolls to the rear haunches, three parallel incised markings to the back to simulate the fur, the softly polished stone of pale whitish hue to the back and creamy russet tone to the body and head, with russet markings to one side of the head and rear haunch. 10.5cm (4 1/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Bixie ('auspicious beast') were the female guardians of treasure brought back by male Tianlu who went out into the world in search of gold. the function of these lifelike sculptures made from durable materials was to embody and pacify the elemental and supernatural forces of the living world. Large stone figures of ferocious beasts including lions and tigers, and imaginary winged figures, were all placed on the spirit avenues in tombs of emperors and high ranking officials and military commanders, a tradition that flourished and reached its peak during the Six Dynasties, when immense fabulous beasts drawn from the spiritual world were produced on a grand scale outside the tombs near Nanjing. Simultaneously, an artistic tradition of creating jade animals of the highest quality flourished. In contrast to the majority of earlier two-dimensional jade carvings, made for the afterlife or to adorn the individual, these figural sculptures were created in the round as independent objects, not just as sumptuous display items for the appreciation of the elite, but also to provide the owner with a constant and concrete realisation of the powerful supernatural forces latent in the world around.Jade bixie of the Six Dynasties unlike the earlier ones made during the Han dynasty, appear to display less movement in their carving. Compare a jade fitting in the form of a bixie, Eastern Han dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6; and see also another example, Wei/Jin dynasty, illustrated in Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. See a related jade carving of a mythical beast, Six Dynasties, illustrated by J.Rawson and J.Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. A further Six Dynasties jade bixie from the collection of Dr and Mrs Cheng Te-k'un, is illustrated by J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12.A related beige and russet jade bixie, Han dynasty/Six Dynasties, was sold at Sotheby's New York, 21 September 2021, lot 46.Les bixie (« bêtes auspicieuses ») étaient les gardiennes (femelles) des trésors rapportés par les tianlu (mâles) qui parcouraient le monde à la recherche d'or. La fonction de ces sculptures très vivantes faites dans des matières durables était d'incarner et pacifier les forces fondamentales et surnaturelles du monde vivant. De grandes sculptures en pierre de bêtes féroces, dont des lions, tigres et bêtes ailées imaginaires, étaient placées sur les Voies des Esprits menant aux tombes des empereurs, haut-fonctionnaires et chefs militaires : cette tradition se développa et atteignit son apogée durant l'époque des Six Dynasties, lorsque d'immenses créatures fantastiques venues du monde des esprits furent réalisées à grande échelle à l'extérieur des tombes près de Nankin.Parallèlement se développa une sculpture de grande qualité d'animaux en jade. Contrairement à la majorité des sculptures en jade plus anciennes en deux dimensions, servant d'ornement personnel ou pour l'au-delà, ces sculptures étaient réalisées en ronde-bosse comme objets indépendants, non seulement en tant qu'œuvres d'apparat somptueuses, destinées à être appréciées des élites, mais aussi comme rappel concret et constant à leur propriétaire des puissantes forces surnaturelles latentes dans le monde qui l'entoure.A la différence des bixie plus anciens faits durant la dynastie Han, les bixie en jade des Six Dynasties semblent montrer moins de mouvement dans leur sculpture. Comparer avec un ornement en jade en forme de bixie, dynastie des Han orientaux, illustré dans J. Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.353, fig.6 ; voir aussi un autre exemple, dynastie Wei/Jin, illustré dans Compendium of Collections in the Palace Museum: Jade 4 Han, Wei, Jin, Southern and Northern Dynasties, Beijing, 2011, no.299. Voir encore une sculpture proche en jade d'une chimère, Six Dynasties, illustrée dans J. Rawson et J. Ayers, Chinese Jade throughout the Ages, London, 1975, no.186. Voir enfin un bixie en jade des Six Dynasties de la collection de Dr et Mrs Cheng Te-k'un, illustré par J.Watt, Chinese Jade from Han to Ch'ing, New York, 1980, pl.12. Un bixie comparable en jade beige et rouille, dynastie Han/Six Dynasties, a été vendu à Sotheby's New York, le 21 septembre 2021, lot 46.六朝 青玉辟邪來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏「辟邪」是一種有翼瑞獸。學界對此類肩生雙翼的神獸定名略有出入，一說「辟邪」為雌性，鎮守著雄性「天祿」外出尋找黃金所帶回的寶物。帝王將相陵墓神道兩側放置有翼石獸，起到辟邪除兇、保衛墓主人的作用，是秦漢以來流行的做法，在六朝時期蓬勃發展並達到頂峰；時南京附近的陵墓外可見大量大型神獸石像。與此同時，精巧動物、瑞獸玉雕亦隨之蓬勃發展。與較早期作為陪葬品或配飾用常見之玉牌等平面玉雕不同，此類圓雕動物神獸作為獨立個體進行創作，不再僅為身份地位象徵，更為其擁有者提供源源不斷的天地之氣... For further information on this lot please visit Bonhams.com
A group of Shona stone sculpture, comprising: Misheck Makaza, Zimbabwean, b.1977, Humble, an opal stone sculpture of a kneeling figure, signed M MAKAZA, 36cm high; Enos Gunja, Zimbabwean, b.1947, a carved stone bust, signed GUNJA E. to underside, 18.5cm high; and a carved stone figural sculpture, 16cm high; together with a block of polished and cut petrified hardstone, approx. 13cm high, 11.3cm widePlease refer to department for condition report
Frederick Hart (1943-1999)/First Light/engraved Hart 1989, FH/SGL, 214/350 CA.i./lucite figural sculpture, 54cm high/Note: from the Born of Light collection produced as a limited edition. Frederick E Hart is best known for his Three Soliders bronze statue at the Vietnam Veterans Memorial, Washington as well as a monumental stone carving 'Ex Nihilo' which formed the centrepiece in the Creation sculptures at the National Cathedral Washington DC CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
STATUETTE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIE SIÈCLEHimalayan Art Resources item no. 4616 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF MANJUSHRIQING DYNASTY, 17TH CENTURY清 十七世紀 銅鎏金文殊菩薩像Provenance:With Claude de Marteau, Brussels, by 1970sThis elegant and serene figure portrays Manjushri, the Bodhisattva of 'Transcendental Wisdom'. He is seated in dhyanasana, with his raised right hand brandishing a sword, and his left hand in vitarka mudra. Early Qing emperors enthusiastically patronized Tibetan Buddhism as had the preceding Ming rulers, in an effort to extend Manchu rulership over Tibet and reorient the Mongols towards China. The Qing court favored Manjushri amongst other deities in the Buddhist pantheon, and as did other emperors of that dynasty, the Kangxi Emperor regarded himself as his emanation. He supported the building of temples and paid obeisance to the sacred mountain of Wutai, considered to be the mythical home of the deity. Manjushri's torso naturally sways to one side, reminiscent of renowned Yongle-Xuande bronzes of the same subject. The scarf drops down with a loop below his raised arm, balancing the empty space below the elbow. While reflecting certain styles of Ming tradition, his face, regalia and base are more consistent with early Qing bronzes. His dhoti is plain and tight in contrast to the draping folds frequently seen on Ming bronzes. The pleats here are contained, fanning out neatly over the crossed ankles of the deity. His high crown consists of five elaborate plaques, each decorated with foliate designs and a vertical band of stacked beads. Two figures of White Tara from Qing's Chengde Palace are adorned with similar crown types; see Chang and Hsu (eds.), Buddhist Art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing dynasty Summer Palace at Chengde, 1999, pp. 84-5 & 90-1, fig. 22 & 25. Compared with the two Taras dated to late 17th/early 18th century, the current lot's overall contour is more natural, especially in the subtle treatment of the muscles along his torso and waist. The lotus base is comprised of three layers of thin, flat petals with prominently pointed tips, a style more concurrent with earlier Qing casts. The special treatment of the base is shared by another sculpture of Manjushri (Burrows, Tibetan Lamist Art, 1970, no. 43) which also corresponds to the figural modelling and regalia.For further information on this lot please visit Bonhams.com
A SET OF SIX LOUIS XV PRINTED AND PAINTED WALLPAPER PANELS MID 18TH CENTURY entitled 'La Dance', 'La Sculpture', 'L'Agriculture', 'La Geographie', 'La Peinture' and 'La Musique', each depicting figural groups at their various pursuits above exotic and fantastical animals, within floral arched trellis borders, published by Daumont Paris (later tinted and some damages) each panel approximately 146 x 56 cm Provenance: Bonham's, Fine English & Continental Furniture & Works of Art Sale, 23rd November 2004, Lot 184 Condition Report: All with fading, rips, tears, surface damages and creasing, signs of joins and with later strengthening paper to the rears to hold old tears and damage together. Old losses and holes The decoration appears to be later, the colours too vibrant and not as carefully applied as would have been the case if this was contemporary to the panels themselves The ebonised timber strips to top and base are later One has rips to the upper edges and is too fragile at present to hang, another with rips at the bottom and the timber strip is off Please see additional images for visual reference to condition Condition Report Disclaimer
Dame Elisabeth Frink R.A. (British, 1930-1993)Head signed and numbered 'Frink 4/6' (at the base of the neck)bronze with a brown patina and polished goggles50.8 cm. (20 in.) highConceived in 1967Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Sculpture, 1967 (another cast)London, Waddington Galleries, I, II, III, Elisabeth Frink: Sculpture, 11 October-4 November 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, May-June 1997 (another cast)LiteratureBruce Laughton, 'Elisabeth Frink', Arts Review, 9 December 1967Jill Willder (ed.), Elisabeth Frink: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, p.172, cat.no.166 (ill.b&w, another cast)Sarah Kent, Elisabeth Frink: Sculpture and Drawings 1952-84, Royal Academy, London, 1985Annette Downing, Elisabeth Frink: Sculptures, Graphic Works, Textiles, Salisbury Festival and Wiltshire County Council Publication, 1997Annette Ratuszniak (ed.), Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p.110, cat.no.FCR192 (ill.b&w, another cast)One of the most effective themes throughout Frink's sculpture is her examination of the dichotomies inherent to humankind. Especially our predisposition to at once be tender and vulnerable, yet also our ability to be violent and merciless. In the age of post-war unease in which Frink came to prominence many sculptors of her generation shared such concerns. This loose group were branded together by Herbert Read under the term of 'Geometry of Fear'. Often their works manifested not in human forms, the iconography of the figure was too academic to display the desired brutishness or despair, but rather in animal forms. Lynn Chadwick looked to winged insects, Bernard Meadows to scuttling crabs, and Frink to stalking birds. Her anthropomorphic avian forms of the early 1950s either threatened their jutting beaks, or cowered under raised wing, and on occasion both simultaneously.As the decade wore on and into the '60s, Frink's birds developed into birdmen or winged figures as she increasingly explored the ability of the (always male) human body to effectively describe the human experience. These works are undoubtedly figural. However, Frink sculpts the body to a surface which is wrought with scarred texture, and she distorts proportions of trunks and limbs. Her ambition is not to render the human physiology, but again to display the opposing forces within human nature. There are two major works of the period in which Frink achieved this to high acclaim. Firstly, Blind Beggar and his Dog of 1958 in which a spindly man is heavily dependent on his canine aid yet strides confidently forward due to his trust, and secondly Judas of 1963, in which a powerful man stands resolutely upright, yet raises his arms in a protective manner as he has been blinded by his own treachery.For Frink, the apex of her explorations of man's contradictions dawns in 1967 with the arrival of her acclaimed Goggle Head series, to which the present work belongs. This series draws on several origins; the head gear of fighter pilots, the authoritative motorcyclists of the French police as well as the militant General Oufkir, frequently depicted in the press at the time wearing reflective sunglasses. Combined, these figures represent instances of man's danger, power, and menace. Yet Frink awards these figures of reprehension with a stylised treatment, elevating their presence. She adjusts her application and working of plaster, refining the surface dramatically so that the bronze is smooth, and she polishes their eyewear so we cannot scrutinise their gaze, only our own in the reflection.In so doing she iconises the brutality of our species, in a manner not unlike Francis Bacon's painting of the period. Frink knew and admired Bacon, and he in turn enjoyed Frink's brilliant wit. Like Bacon's battered and bruised portraits, Frinks' Goggle Heads are, as has been recently noted, 'grotesque and bizarrely kitsch manifestations, an archetypal man oozing glamour, sex, death and nihilism. They are transgressions, and one is unsure whether to be appalled or turned on by them!' (Calvin Winner, exh.cat. Elisabeth Frink Humans and Other Animals, Sainsbury Centre for the Visual Arts, 2018, p.36)Frink's Goggle Heads confirmed her resolve to pursue figuration and are considered 'her most original and significant creations' (ibid., p.35). They would be followed by the similarly styled but introspective Tribute Heads, which act as their counterparts, and naturalistic figuration would remain her chosen mode throughout the rest of her career. It should be noted that this decision, in a period through which abstraction in both sculpture and painting was highly celebrated, further aligns Frink with the great figurative painters of post-war Britain.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A bronze figural toothpick stand in the form of a centurion standing on a crocodile, 19th c, 10cm h, a japanned tinplate box in the form of an apple, early 19th c, the account book of 2956 James Mowat (a soldier of the Seaforth Highlands), late 19th c, in maroon morocco wallet type binding, a lithographed cigarettes tin and a modern bronze resin miniature erotic sculpture (5) Condition evident from image
A LARGE LATE 19TH CENTURY FRENCH FIGURAL MYSTERY CLOCK the patinated metal sculpture modelled as a young maiden titled 'BRISE d' AUTOMNE' by Auguste Moreau mounted on a simulated marble base holding the large swinging gridiron style pendulum surmounted by a patinated green spherical ball with applied Roman numerals enclosing an eight-day spring-driven timepiece movement.100cm highThe case is in good condition and the movement looks clean and complete, the suspension that supports the pendulum has snapped so isn't running and will need attention.
Karl Hagenauer (Austrian, 1898-1956). Group of two figural sculptures: one of wood depicting a haloed Mary and infant Christ; the other of bronze depicting a woman's face resting on a bangled arm. Both marked along the underside. The sculpture of the face is additionally etched along the underside with a tank and a boat.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went. This sale features selections from that lifetime of eclectic and inspired collecting, including furniture by Carlo Bugatti, Gabriel Viardot, and Josef Hoffman; artworks by artists ranging from Old Masters to Salvador Dali to Arman; an impressive collection of Indian sculptures; and much more. Be sure to explore our timed-only online auction of other fascinating objects from this collection that will be posted in mid-August.Height: 5 1/2 in x width: 3 3/4 in x depth: 2 1/2 in.
Jean Jacques (James) Pradier (French, 1790 -1852): A bronze figural group of Zephyr and Florasigned to the drapery J.PRADIER, the base inscribed and dated J.Pradier / 1851, brown patina, raised on a black marble oval moulded plinth, 42.6cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 29 November 1991, 19th Century Sculpture, lot 64.Jean-Jacques Pradier was a Swiss-born, French sculptor. He won the Prix de Rome and studied there from 1814 to 1818. He then worked under Jean-Auguste-Dominique Ingres in Paris. In 1827 he became a member of the Académie des Beaux-Arts and Professor at the École des Beaux-Arts. Amongst his chefs-d'oeuvre are the figures of Renommées in the spandrels of the Arc de Triomphe and the twelve Victoires surrounding Napoleon's tomb in the Invalides.For further information on this lot please visit Bonhams.com
Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
TWO FIGURAL SCULPTURES, comprising an Austin Sculpture bronzed female figure titled 'Sultry Awakening' after Klara Sever, moulded signature to base, height 55.5cm, together with a Heredities bronzed resin 'Adam and Eve' sculpture, base having moulded signature 'Roland Chadwick 1986', height 33cm (2) (Condition report: pieces appear in generally good condition, some scratches and knocks)
FOUR BOXES OF CERAMICS AND SUNDRY ITEMS, to include Imari pattern jugs, a green glazed figural mermaid comport, a carved marble sculpture of a head, a pair of vases in the form of large fish height 27cm, five tiles printed and tinted with flowers, ceramic candlesticks, toby jugs, various figurines, etc (4 boxes) (sd)
A collection of horse sculptures, comprising a silvered horse bust on a rectangular stand 25cm high, a pair of cast metal horse busts on rectangular stands, both approx. 13cm high, a spelter figural group of a horse and foal 15.5cm wide and a brass sculpture of a prancing horse 20cm high (5)
Vincenzo Gemito (Italian 1852-1929). A bronze figural sculpture 'L'Acquaiolo' (The Water Carrier), foundry mark, height 52cmOverall with a light silvered bronze tone throughout, a little oxidised and dirty in places, some verdigris beneath the feet, foundry stamp to the top of the large urn and inscription 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. height 52cm
A SEVRES BISCUIT PORCELAIN FIGURAL GROUP, 'LES GOURMANDS' OR 'LES BUVEURS DE LAIT' FROM THE MODEL BY ÉTIENNE-MAURICE FALCONET (1716-1791)THIRD QUARTER 18TH CENTURY Incised 'F' 18cm highNote: Falconet was appointed Director of Sculpture at Sevres in 1757 and modelled a variety of Enfants subjects in biscuit for use as table sculptures to compliment the factory's table services. This model would have produced on the orders of Jean-Jacques Bachelier (1724-1806), Director of the Royal Factory at Sevres who is generally credited with instigating the use of un-decorated biscuit porcelain in this way.Cf. Lot 115, Christie's, 2nd/3rd December 2016, from the estate of Denise Bernstein, hammer $2k. Condition Report: There is a large section of the fish box missing. Firing faults generally.Condition Report Disclaimer
A GROUP OF 19TH AND 20TH CENTURY CERAMICS, including an early 19th century leaf shaped earthenware pickle dish in the Fisherman pattern, s.d., a late 19th century dark blue jasper dip pot pourri and cover, one side handle missing, a pair of jasperware style bucket shaped salts with plated rims, metalwork distressed, a James Kent chintz 'Harmony' tea pot, finial chipped, a late Victorian hand painted cup and saucer, saucer cracked, a Delft double-sided figural salt, two Victorian 6 inch glazed tiles, a Capodimonte Boy in a Cart porcelain sculpture, height 26cm, with certificate, very dusty and a small amount of chips to leaves / fruit stalk, a Goss orange shaped preserve pot and cover, etc, s.d. (14 + certificate) (Condition report: most damage listed in the description, Grainger Worcester posy vase has chip to inside rim)
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