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Click here to subscribeAn Isle of Wight glass vase, of small proportions, with makers label to body, 7cms high; together with a free-blown glass vase by Dan Aston; a Royal Copenhagen annual mug 1974, with unengraved silver disk to underside; a cut glass decanter with stopper; Ringtons tea pot; a contemporary figural sculpture; and other items.
TWO BOXES AND LOOSE METALWARES AND SUNDRY ITEMS, to include an abstract figural stone sculpture height 52cm, scratched signature W Moyo to base, a copper kettle (missing lid) and coffee pot, twelve plated goblets in two different sizes, a Pifco lantern, trays and other brass wares, assorted vintage tins etc
Jewad Selim (Iraq, 1919-1961)Man and Horse oil on board, framedsigned 'Jewad Selim' and dated '1956' in Arabic (lower right), executed in 195643.9 x 59cm (17 5/16 x 23 1/4in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, Baghdad.'At the end of each day – Jawad sat in the living room surrounded by our sons, filling sheet after sheet of a small pad of paper with nimble drawings of wild animals in action – tigers, monkeys, crocodiles, elephants and even some imaginary creatures. And as his pencil flew across the paper, he held the children spellbound with tales woven around his jungle beasts. It was his way to relax, and the boys urged him not to stop, even long after their bedtime'Memoirs of Ellen Jawdat, mother of the present owners''You draw on paper, crescents and signs that lead the traveller to your heart, arousing hope in Baghdad, who invited you into her mornings like a woman full of desire. You called your pictures by her name, like a lover who searches in the corners of memory for friendly signs, a square or a rectangle, a suggestion of a palm tree or a coffee pot, or the faces of tired women in love, hovering between al-Risafa and al-Karkh, between the beginning and the end of a dream ?' - Dia Azzawi 'A Homages to Jewad Selim'Painted when Jewad Selim was firmly recognised as one of the leading luminaries of the Iraqi art scene, Arab with Horse is a rare and captivating composition which participated in the landmark fourth exhibition of the Baghdad Modern Art Group in 1956, a demonstration of the remarkable longevity, appeal, and success of the group which Selim himself co-founded. One of Selim's most enthralling works, 'Man and Horse', is a stunning combination of the artistic dexterity and tonal richness of Selim's work, with thematic and aesthetic inspiration drawn from his ever-present subject matter: the rich landscape of urban life in Baghdad . 'Man With Horse', with its free flowing, curvilinear forms, appears to have a lively and spontaneous feel, a trait Lorna Selim attributed to Jewad's creative process, which was to know exactly what he wanted to paint before picking up his brush and often completing works in just a few hours. Jewad's innovation of integration of Iraqi and European ideas creates a work that is a perfect fusion of styles. The two figures meet heads in a tender, thoughtful embrace, they bear round faces with large open eyes and simply delineated noses, not unlike figures of the two European masters Modigliani and Picasso which Selim so admired. Block colours, abstract fauna and shapes fill the ground, curiously blending visual cues both from European Modernism and from the decoration on medieval figural lustre ceramics of the Abbasid era. After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Decorative Object Assortment (10) items including a bronze sculpture depicting (2) abstracted nude figures standing face to face signed 'Grossman' on base and mounted on a wood plinth; a terracotta sculpture depicting octopi signed 'I. Grossman' on back of base; a bronze face presented on a stand; a terracotta scoop form having blue glaze presented on a stand; a ceramic platter having a fish motif; a ceramic duck; a Mexican style pottery cat; a Mayan style terracotta pitcher; a ceramic wall plaque having figural decoration, illegibly signed on the backside and dated ''87'; and a cast plaster mascaron Property from: a Dixon, Illinois estate Height: 11 1/2 inches, Length: 20 inches, Width: 8 inches (Mexican pottery cat) Condition: Very Good to Good, overall light wear consistent with normal use; nude bronze plinth loose and having paint loss; scuffs and scratches with paint loss to both stands; duck having paint drip on back feathers; scoop form having (4) small chips to long edges and a 1-inch internal chip with loss at mouth crease; light dirt accumulation; terracotta Grossman sculpture having an expansion crack in base; mascaron having some small chips to edges; glazed face of wall plaque having crazing Category: Decorative Arts > Objects Estimated Sale Time: 11:00 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
slate44.5cm high, 11.5cm wide, 15cm deep (17.5in high, 4.5in wide, 6in deep)Footnote: Boaz Vaadia was an internationally renowned sculptor known for hand-cutting slabs of bluestone and slate and then stacking them thus, creating male and female forms. In 1985 he created Adam, named after a guest who was staying in his loft, which was his first such figural sculpture. This would mark a significant moment in his oeuvre, and a development into a distinct new sculptural style that would become synonymous of his work. It set him on a path to international prominence and his personal totems, evoking ritual and primal forces, with an instinctive nod to his homeland but without overt religious connotations, grace prominent private and public collections around the world including the Metropolitan Museum of Art, New York, the Museum of Modern Art, San Francisco, the Time Warner Building, New York, the Israel Museum, Jerusalem and the private collection of Elton John.
Full title: A German bronze commemorative dish for the Holy Roman Emperor Ferdinand III, Nuremberg, 17th C.Description: Dia.: 18,5 cm The inscription around the central medallion reads 'FERDINAND: III. D: G. RO: IM: SA'. On the back, a monogram 'MCG' is engraved which might be attributable to Caspar Gras (1585-1674). The CG being obvious, the M might refer to Bad Mergentheim where he was born and where he worked at the court of Archduke Maximilian III.Ê German-born sculptor Caspar Gras was one of the finest metalworkers of the 1600s in Northern Europe. After learning the craft of goldsmithing from his father, he became an apprentice embosser at the court of Archduke Maximilian III in Bad Mergentheim. By 1610 he was promoted to Court Embosser and soon received most of the court's commissions. These included not just relief sculpture, but also life-size figural works, equestrian statues, and fountains.Ê Gras also created many Kunstkammer pieces, which generally were small-scale works designed to be incorporated into a collector's accumulation of precious and virtuoso art objects. He was now considered one of the most renowned bronze sculptors in the Tyrol, the Alps of western Austria. Yet, the death of Emperor Leopold V in 1632 and the Thirty Years' War left the area in a severe financial depression, so Gras received few commissions in his later years and is primarily known from his earlier work. (source: J. Paul Getty Museum)Ê Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
After Auguste Moreau (French, 1834-1917): a contemporary bronze figural sculpture coffee table, modelled as a child sleeping in a hammock bed, with rounded rectangular glass surface, bears signature to base 'Aug Moreau 7/99', base 46 by 114 by 45cm high, surface 1.5cm thick, 74 by 140 by 46.5cm overall.
Group of three 20th century African bronze sculptures including one bronze figural sculpture, one Yoruba bell, and one Dogon Bandiagara bronze.Dimensions:(Bronze Figural Sculpture) Height: 13 1/2 in x width: 4 1/2 in x depth: 2 1/2 in.(Yoruba Bell) Height: 9 in x diameter: 5 1/4 in.(Dogon Bandiagara Bronze) Height: 9 in x width: 5 1/4 in x depth: 8 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Fritz Scholder (American, 1937-2005). Oil painting on paper depicting two abstracted human figures - one purple, the other green - in the midst of an embrace. The couple is set against a dark gray background with an amorphous form protruding from them and reaching out towards the left frame. Signed along the lower right in pencil.Fritz Scholder was born in Breckenridge, Minnesota in 1937 to parents that worked in pottery and in school administration for the Bureau of Indian Affairs. Fritz Scholder’s paternal grandmother was a member of the Luiseño tribe of California’s Mission Indians. Thus, he was one-quarter Indian and did not identify as an Indian. He was raised in Wahpeton, North Dakota, South Dakota and Wisconsin, attending public schools with primarily Anglo children. His first American Indian instructor was Oscar Howe at a high school in Pierre, South Dakota, who introduced him to modern art. In the 1950s, Scholder and his family moved to California, studying at Sacramento City College with Wayne Thiebaud, a pop artist. Thiebaud presented him with early opportunities to showcase his work. Scholder’s first show was in 1961 in Sacramento, which received excellent reviews. Scholder’s style was that of bold colors and generous brushstrokes. After graduating with an MFA Degree in 1964, Scholder became an instructor at the newly formed Institute of American Indians Arts in Santa Fe, New Mexico, remaining there for five years.In 1967 he began creating a series that maintained his bold, contemporary style that combined Abstract Expressionism and Pop Art, while introducing depictions of the contemporary lifestyle of American Indians. With humor, he presented such clichés, and he drew attention to the issues of self-alienation and the enforced alienation of these citizens. He resigned from teaching in 1969 and travelled to Basel and Egypt before settling in Scottsdale, Arizona. He then moved into the American Portrait series. He also pursued tactile sculpture, which merged his experience of the medium in graduate school with his imagination. The American Portrait series and sculptural works were inspired by his collection of Egyptian artifacts that he lived with, along with a desire to imbue his work with more of his self.Scholder’s Indian series continued to garner attention while his newer series were being explored. In 1972 a two-person show with a former student, Two American Painters: Fritz Scholder and T.C. Cannon, opened at the American Museum of Art of the Smithsonian Institution, Washington D.C. to good reviews and it traveled to Romania, Yugoslavia, Berlin and London. He began the American Portrait by 1980 and the Flower series in 1979, inspired by his surroundings and the challenge of pursuing non-figural subject and in a beautiful manner. His work was shown at the Basel International Art Fair in 1974, The Tucson Museum of art for a 1981 retrospective, and the Phoenix Art Museum in 1997 for his beastly artworks. In addition three documentaries were produced on the artist, in 1977, 1997, and 2008, the former two made by PBS. Following his death in 2005, an important exhibition was held in 2008 at the National Museum of the American Indian, Washington D.C. and New York, called “Fritz Scholder: Indian/Not Indian,†which placed many of his artworks from private collections on public view. Today Scholder’s works are in the collections of: Museum of Modern Art; Brooklyn Museum of Art; Art Gallery of Toronto; Bibliotheque Nationale, Paris; Center Cultural American, Paris; Los Angeles County Museum, California; San Francisco Museum of Art; National Collection of Fine Arts; and the Houston Museum of Fine Arts.Provenance: Private collection, Minnesota.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.
Frederick Hart (American, 1943-1999). Pair of acrylic sculptures titled "Duet: The Pair," 1996, including one sculpture of a female nude in low relief and one of a male nude. Their edges seem to fit perfectly when placed side by side, making them a fitting pair. Both dated 1996, signed, numbered 170/450, and marked "GAZ" along the base. Frederick Hart is a sculptor best known for his figural works, especially "Ex Nihilo" at Washington National Cathedral.(Each) Height: 16 3/4 in x width: 10 3/8 in x depth: 5 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Each) Height: 16 3/4 in x width: 10 3/8 in x depth: 5 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Family," 1991, depicting a whimsical portrayal of a family - a mother, father, and three children - holding hands and swinging the smallest child up into the air. Signed, dated, and numbered 4/25 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Dawn," 1985, depicting a standing female nude figure with her right hand on her hip and her left arm reaching towards the sky and her hand full of her hair. Signed, dated '85, and numbered 4/10 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Half-Tryst," 1984, depicting a standing female nude figure with arm stretched upwards and bending slightly back. Signed, dated '84, and numbered 3/25 along the base. Label that reads "Paul Granlund Half Tryst 3/25 CGR26452" affixed along the underside.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.
Paul Granlund (American, 1925-2003). Bronze sculpture titled "Mothers Model," depicting two female figures holding hands above three children below. Signed, dated 78, and numbered 7/10 along the base.Provenance: Private collection, Minnesota.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.
λ JEAN RENÉ GAUGUIN (FRENCH-DANISH, 1881-1961), THE DISCUS THROWERCOPENHAGEN, CIRCA 1926-1927A lifesize sculpted and painted plaster figure on integral plinth195cm highThe son of Paul Gauguin, Jean followed his father into the arts working as a sculptor. Perhaps best known for his figural work for Bing & Grondhal he also specialised in life size studies culminating in winning a bronze medal at the 1924 Paris Olympics for his bronze life size figure of a boxer. This bronze figure stands in the State Museum of Art in Copenhagen whilst his plaster and cement model for it stands in front of the Arhus stadium. It seems that this lot, a more static version of a Diskoskater or diskuskast than his smaller more fluid bronzes, could have been a follow-up design to his award winning boxer.Condition Report: Unsigned. Sculpture is in two parts- top and base- surface of plaster is fragile and there have been restorations- with consequent colour variances including but limited to; left hand, areas above and below joint to front and bask, chest, shoulders etc. Also has taken some losses to margins- revealing white under-surface- Surface is dirty from atmosphere and handlingFragile- will require careful handling and transport but even in the best of hands- may not survive rigours of international travel intactPlease see additional images which form part of this condition reportCondition Report Disclaimer
A late 19th century Ansonia Clock Co. figural mantel clock, 'Opera' model, the two-piece white porcelain dial with open escapement and fancy gold hands, housed in a balloon shaped cast metal case, next to a figural decorative sculpture emblematic of 'Opera', being a classical lady seated on a stool, with opera mask, and opera names on the banner over the stool, and holding a trumpet in her right arm, on an enameled iron base with etched designs and gold highlights, raised on four croner feet, 45 by 18 by 42cm high.
After John Henning (English, 1771-1851): A set of eight framed 19th century plaster relief cast plaques depicting subjects from the 'Elgin' Parthenon marbleseach frame containing six different figural frieze plaques, the plaques, each 6cm x 24cm, the later frames, 28cm x 41cm (8)Footnotes:During the 18th and 19th centuries the interest in classical sculpture was at its height and many original examples and copies adorned country houses and art academies all over Britain. The famous Parthenon frieze formed part of Lord Elgin's collection of Greek sculpture that was first displayed in England at Elgin's London home on the corner of Park Lane and Piccadilly from 1808 to invited guests.John Henning, a Scottish born artist, was one of the first to access the collection and like most who saw it was struck by the beauty of the pieces. He embarked on a project of making models of the Parthenon and Phigaleian friezes, restoring the missing elements, an undertaking which he felt was not only useful for his own artistic gain, but also for pecuniary reasons. His initial studies in ivory were unsuccessful and so he intaglio carved slate which he used as moulds for plaster casting, producing small tablet sections which were sold in boxes. Working for Josiah Wedgwood at the time, Henning took twelve years to complete the reliefs.For further information on this lot please visit Bonhams.com
Jacques Sarazin, 1592 Noyvon – 1660 Paris, zug.BRONZEFIGUR EINES LIEGENDEN KINDESHöhe: 26 cm. Länge: 38 cm. Sockelhöhe: 9 cm.Auf angepasstem schwarzem Holzsockel aufgelegt. In schräg nach rechts liegender Haltung, mit vorgehaltenen Armen und geöffneten Händen, die Beinchen leicht angezogen, das linke etwas mehr. Ein schmales, über dem Oberschenkel liegendes, vergoldetes gedrehtes Tuch ist separat gegossen und anmontiert. Die Gesichtszüge sind als die eines Knäbleins zu erkennen. Die Augen geöffnet, die Handhaltungen lassen erkennen, dass das Knäblein ehemals einen eingelegten Gegenstand hielt, wahrscheinlich ein Kreuz, was die Figur als Jesuskind sehen lässt. In der Flechte der rechten Hand eine entsprechende originale Schraubbohrung. Eine weitere am Gesäß. Die schöne Alterspatina vortrefflich erhalten, möglicherweise Lackpatina.Die Zuweisung an den Künstler lässt sich durch Vergleiche erhärten. Im Eremitage-Museum St. Petersburg findet sich eine ebenfalls liegende Knabenfigur in Terrakotta (Inv.Nr. H.ck-594), die dort – wohl nicht ganz zutreffend – als ein römisches Werk des beginnenden 18. Jahrhunderts bezeichnet wird. Das Britische Museum London bewahrt einen Kupferstich von Pierre Daret, mit Darstellung einer „Maria mit Kind“von Sarazin, das Kind hier in ähnlicher Auffassungsweise. Den überzeugendsten Vergleich liefert die Terrakotta-Figurengruppe „Maria mit auf dem Schoß liegendem Kind“, um 1640, im Louvre (Inv.Nr. RF 2979).Sarazin studierte und wirkte von 1610 bis 1627 in Rom bei Jean Languille, einem französischen Holzbildhauer. Hier wurde er vom Römischen Barock geprägt und arbeitete zusammen mit dem Bologneser Maler Domenichino, aber auch mit dem flämischen Bildhauer François Duquesnoy. Simon Vouet, dessen Nichte er ehelichte, war etwa ein Jahrzehnt sein Mentor und künstlerisches Vorbild. 1648 gehörte er zu den Begründern der Pariser Akademie, die er als Direktor von 1654 bis 1660 geleitet hat. A.R.Literatur: Barbara Brejon de Lavergnée (Hrsg.), Jacques Sarazin. Sculpteur du roi, 1592-1660. Ausstellungskatalog. Réunion des Musées Nationaux, Paris 1992. Antoine-Nicolas Dézallier d'Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages. Bd. 2, Reprint der Ausgabe von 1788. Boston 2006, S. 145-158. Marthe Digard, Jacques Sarrazin. Son œuvre - Son influence. Paris 1934. (1271817) (11)Jacques Sarazin, 1592 Noyvon – 1660 Paris, attributed BRONZE SCULPTURE OF A RECLINING CHILDHeight: 26 cm. Length: 38 cm. Height of base: 9 cm.The attribution to the artist is corroborated by a list of comparable examples. A reclining terracotta sculpture is held at The State Hermitage Museum in Saint Petersburg (inv. no. H.ck-594), where it is described, probably incorrectly, as a Roman sculpture of the early 18th century. The British Museum in London holds an engraving by Pierre Daret with the depiction of The Virgin and Christ Child by Sarazin and the Child on offer for sale here has a similar concept. The most convincing example of comparison is the figural terracotta group The Virgin and Child, ca. 1640 at the Louvre in Paris (inv. RF 2979), where the reclining Child is held across the Virgin’s lap.Literature:B. Brejon de Lavergnée (ed.): Jacques Sarazin. Sculpteur du roi, 1592-1660, exhibition catalogue, Réunion des Musées Nationaux, Paris 1992.A.-N. Dézallier d’Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages, vol. 2, Reprint of the 1788 edition. Adamant Media, Boston 2006, pp. 145-158.Marthe Digard, Jacques Sarrazin. Son œuvre – Son influence. Paris 1934.
A Beswick Sairey Gamp character jug; a kitsch carved and painted wood figural bar set, characters sitting on a bench; a continental jardiniere; a piggy bank; a pair of carnival glass vases; a faux Roman earthernware vessel; a pewter hot water jug; a sculpture of a shoe by Tony Bods; a pair of brass candlestricks; a parrot wall hanging; a Russian turned wooden box and cover; stoneware jars; qty
A GLAZED POTTERY SHRINE OR ORNAMENT, BURMA, EARLY 20TH CENTURY honey glazed slip decorated red earthenware, depicting two devotees flanking an altar, on an elaborate raised plinth, a scrolling openwork finial at the back 39cm high Provenance: Private Collection, London, acquired about 60 years ago Although Burma is better known for other crafts, such as wood and stone sculpture, lacquer, metalwork and painting, glazed pottery figural tilework was produced in Pegu in the 15th century, an example of which is in the Victoria and Albert Museum (IS 2 1966), as well as a later example thought to date from the early 19th century (04160A IS). This lot was probably produced during the late colonial period for the British market.
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