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Lot 394
antique Indian Rajasthan "Shivalinga" - sculpture in grey marble A Lingam is an abstract or aniconic representation of the Hindu god Shiva in Hinduism. It is typically the primary murti or devotional image in Hindu temples dedicated to Shiva and refers to the formlessness of creation.Antieke Indische sculptuur, zgn shivlinga uit Rajasthan in grijze marmer - ca 30 x 43 cmEen Lingam is een abstracte of aniconische voorstelling van de hindoegod Shiva in het hindoeïsme.Het is typisch de primaire murti of devotionele afbeelding in hindoetempels gewijd aan Shiva enverwijst naar de vormloosheid van de schepping. Om deze kracht uit te beelden heeft de lingam devorm van een fallus. Tijdens een ritueel wordt melk of water over de lingam gegoten. Vervolgensworden er bloemen op gelegd. De lingam staat in een "yoni" ("vrouwelijk bekken" - lett.: "heiligedoorgang"): een rand rondom de linga waarin de geofferde vloeistoffen worden opgevangen. DeYoni verwijst hierbij naar het vrouwelijke aspect, terwijl de lingam het mannelijke aspectvertegenwoordigd en het geheel vertegenwoordigd de man-vrouw eenheid
Lot 323
Ancient Rome, presumably 2th Cent., marble sculpture depicting the head of Dictator Lucius Cornelius Sulla (138 -78 BC) Sulla was a Roman politician, general and dictator during the Late Roman Republic. He was the first Roman dictator whose term of office was not limited. Many of his reforms would form the basis for the later principate.OUD ROME - allicht 2° EEUW sculptuur in marmer : "Hoofd van dictator Lucius Cornelius Sulla (138 -78 BC)" - hoogte : 15,3 cm - gemonteerd uit een Nederlandse collectie (Amsterdam) Sulla was een Romeins politicus, veldheer en dictator ten tijde van de Late Romeinse Republiek. Hij was de eerste Romeinse dictator wiens ambtstermijn niet was beperkt. Veel van zijn hervormingen zouden mee de basis vormen voor het latere principaat
Lot 393
quite special Indian Rajasthan , maybe 15th/16th Cent. Hindu-tantric sculpture in white marble with the depiction of a 'yoni' and two protecting nagas, on top there is presumably a portrait of the donor of this sculptureINDIA / RAJASTHAN - mogelijk 15°/16° EEUW vrij uitzonderlijke Hindoe-tantrische sculptuur (66 x 83 cm) in witte marmer met centraal de voorstelling van een "yoni" (vrouwelijk aspect) met een opening om er water (symbool voor goddelijke nectar) uit te laten stromen, geflankeerd door twee naga's als bescherming, bovenaan is er mogelijk een voorstelling van de schenker van het stuk - gemonteerd
Lot 384
17th Cent. (or earlier) Indian Rajasthan sculpture in white marble with the depiction of the resting Vishnu with Lakhsmi at his feet and the birth of Brahma, surrounded by admirers/followersINDIA / RAJASTHAN - 17° EEUW (of vroeger) fraaie sculptuur in witte makrana-marmer met de voorstelling van de rustende Vishnu met Lakshmi aan zijn voeten en omgeven door bewonderaars/aanbidders, er is ook een weergave van de geboorte van Brahma - hoogte en breedte : 45,5 x 55 cm speciaal is de plezante voorstelling van twee kleine volgelingen aan de bovenkant
Lot 96
* ENZO PLAZZOTTA (ITALIAN 1921 - 1981), SPIRIT OF FREEDOM bronze sculpture with rich brown patina, stamped with the Plazzotta seal and numbered 34 inscribed title to plaque, on marble base 33cm high Provenance: Enzo Plazzotta Catalogue Raisonne No 329 illustrated page 171.Note: Enzo Plazzotta was born in Mestre, near Venice, in 1921 and spent his student days in Milan studying sculptural drawing and modelling under Giocomo Manzu at the Academia di Brera, and architecture at the Politecnicao. He decided to specialise in sculpture, but his studies were interrupted by World War ll. Plazzotta became a member of the Italian Resistance Movement and fought in the Ossola region as a partisan. He was captured as a result of a secret political meeting held in Milan and spent nearly a year in solitary confinement. While being transferred to a German prisoner of war camp, however, he managed to escape and rejoin the partisans. Plazzotta was engaged in guerrilla activities and in conjunction with the British Special Forces was on the organising end of a clandestine escape route for Jews and escaped Allied prisoners of war en route from Italy to Switzerland. Through these contacts with British Intelligence he was involved in the repatriation of Ferruccio Parri, the leader of the Italian Resistance, from Switzerland to Italy. Parri later became Italy's first prime minister after the war ended. Plazzotta's wartime record won him the Silver Medal for Military Valour. After the war, Plazzotta resumed his studies in Milan, and in 1947 received his first commission, appropriately enough from the Italian Committee of Liberation. This was to be their tribute to their successful wartime collaboration with the British Special Forces. The bronze sculpture was entitled Spirit of Rebellion and depicted the boy David with the head of Goliath. Plazzotta himself was chosen to make the presentation to the Special Forces Club headquarters in London, and the bronze still has a place of honour there today. This first visit to London played a major part in shaping Plazzotta's career, for he quickly decided to make London his permanent place of residence. From his first studio in London he received several portrait commissions and, in 1949, held his first exhibition at the former Brook Street Gallery, to be followed by many others. "Spirit of Freedom" was also commissioned by The Special Forces Club (London) as confirmed in the Catalogue Raisonne. One of his first public commissions was a monument to commemorate the 700th anniversary of the Battle of Lewes, and after this time he began to explore the themes for which he has become well known, specialising in studies of dance, the horse and the female form – all of which exude vitality and movement. His style, based on the classical lines of the Renaissance, reflects perfectly his own admiration for such great masters as Michelangelo and Rodin. He lived in Chelsea and worked from the studio formerly owned by the late Sir Charles Wheeler. Major public sculptures by Enzo Plazzotta include: Camargue Horses, on the Waterside Terrace at The Barbican Centre, London; The Cruxifixion, in the College Gardens of Westminster Abbey; Homage to Leonardo. Belgrave Square, London; Jeté, on the corner of 46 -57 Millbank, Westminster, London; The Hand of Christ, Dinand Library at the College of the Holy Cross, Worcester, Massachusetts, USA; The Helmet, Lewes Priory; Two Brothers, Boys Town, Nebraska, USA; Young Dancer, Royal Opera House, Broad Street, London. The estate of Enzo Plazzotta is handled by Chris Beetles Gallery (London) and their website at the time of writing shows "Spirit of Freedom" priced at £2750.
Lot 150
Lorenzo Mattielli (1687-1748) - Follower, pair of marble groups, with Hercules slaying the Hydra and Hercules and Zerberus, on integrated bases, masterly sculpted white marble with grey veins, a pair, 64 and 70 cm high, models or after the monumnetal sculpture at the entrance of the Vienna Hofburg.
Lot 264
AFTER CANOVA, A WHITE MARBLE FIGURE OF VENUS ITALICA PROBABLY ITALIAN, 19TH CENTURY Her left arm across her body, her right holding drapery with casket at her feet on shaped circular base 101cm high On a red scagliola column pedestal, 124cm high 225cm high overall Provenance: Nidd Hall, acquired by Guy Reed from Richard Butler, 17th Viscount Mountgarret, in 1968 The Guy Reed Will Trust, Copgrove Hall, Yorkshire In 1802, Antonio Canova was asked if he would fashion a copy of the Medici Venus which Napoleon had removed from Florence to the Musée Napoléon in Paris. Although he agreed to make a copy, the sculpture that he eventually completed in 1811 was quite different from the Medici Venus. It shows a more modest figure, who largely covers her nakedness with a large swag of drapery and lacks the dolphin and the figure of Cupid that accompany the Medici Venus. Canova produced various versions of this figure: the original now in the Palatine Gallery of The Pitti Palace another in the Residenzmuseum in Munich, and the third in Hearst Castle, San Simeon, California, (formerly in the Lansdowne Collection). A fourth version was sold from the Londonderry collection in 1962 and is today in the Metropolitan Museum of Art, New York. In 1820 he also completed a version for Thomas Hope (1769-1831). This version, which Canova in fact liked best of all those he had made, was rather closer in appearance than the others to the Venus de'Medici. It is now in Leeds City Art Galleries. Condition Report: Figure- generally good condition with slightly waxy feel to surface- natural small inclusions and veining, some infill to spotted inclusions from the making. 4-6cm area of loss to raised edge of her drape- to her lower left, some natural flaws visible under strong light- plinth with some scuffs, marks and a small area of what looks to be a knock. Pedestal- losses around the top edge, surface scuffing to shaft, some loss to base edges and corners Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 417
Y A PAIR OF FRENCH MAHOGANY, EBONY AND ORMOLU MOUNTED BEDSIDE CABINETS POSSIBLY BY PAUL SORMANI, LATE 19TH CENTURY Each with a marble top and interior 82cm high, 41.5cm wide, 33cm deep Provenance: Bonhams London, Fine European Furniture, Sculpture and Works of Art (17831), 9th December 2010, Lot 168 (£11,400 incl. BP) Property of a Gentleman, London Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There is some cracks and repair to the marble tops with the use of some filler. There is a crack to one of the interior marble panels.Three of the gilt metal screw stops for the drawers are missing for the mahogany drawer linings. The doors when closed go slightly too far and require stops.There is some subtle sun fading.Some small bending to one edge of the pierced gallery with a tack missing to this section.Excellent selection of cuts of timber and the ormolu mounts have good detail and depth.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
Lot 67
A WHITE AND MIXED MARBLE BUST OF A WOMAN ALL'ANTICA ITALIAN, 19TH CENTURY AND POSSIBLY EARLIER With white marble head probably Italian late 19th century in the Antique manner, set in veined grey and red Africano(?) marble and bronze shoulders, probably older, on a green marble socle 63cm high overall Literature: A. Furtwängler, Neuere Faelschungen von Antiken, Berlin and Leipzig, 1899, p. 8-9, fig. 4-6 For related specimen marble busts, see Christie's, Important European Furniture, Sculpture & Clocks (7745), 9th July 2009, Lot 77 (£63, 650 incl. BP) and Important European Furniture and Sculpture (7608), 10th July 2008, Lot 143 (£22,500 incl. BP). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The head with surface marks and some staining- possibly to suggest greater antiquity, set in a white composite or mixed material to disguise edges and to run better into shoulders- this is mostly visible to edges of sternum and reverse of neck. The shoulders with extensive restoration and repairs Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 280
A carved marble bust of Plautilla, late 18th/early 19th century, Italian, after the antique, raised on a turned wooden socle, 36cm wide 15cm deep 58cm high including socle The present busts depicts the young Publia Fulvia Plautilla (d.211 CE), after an antique marble sculpture of the third century CE in the Grand Ducal Gallery at the Uffizi in Florence. The Grand Duke, Cosimo III de'Medici (1642-1723), had this displayed alongside another marble bust of her brother-in-law, Publius Septimus Geta, son of emperor Septimus Severus and younger brother of her husband, Emperor Caracalla; both were supposedly murdered by Caracalla in 211 CE. Although similar in date and style, they were probably not designed as a pair, but they acted as the source of many Grand Tour copies to meet the British appetite for all things Antique in the 18th century. Condition ReportThe bust alone is 50cm high.
Lot 267
Conrad Portalis (French, 1890-1969), large bronze sculpture on an oval marble plinth. En nom de Dieu en avant (Forward in the name of God). Heroic bronze, depicting a rider on a rearing horse, with a raised Christian banner. The collective image of the army of Christ (St. George, Jeanne D-Arc, etc.), defenders and servants of the faith. In a more general sense, it is an image of goodness with fists. Patinated bronze. Signature on the pedestal, approximate dimensions without base H - 80 cm, 45 x 25 cm. Width: 48cm, Height: 88cm, Depth: 30cm, Weight: 15kg, Condition: Good, Material: Marble, ID: ID-ANTQ-3655
Lot 289
Marble sculpture Bathing of Venus. 19th-20th century. Marble sculpture Bathing of Venus. The textbook iconography dates back to the Roman example of the same name from the 2nd century BC. The goddess sits down and draws water from a sacred spring. Multidirectional movements of the hands and head focus attention on the gaze, as if containing a question about the nature of the divine. The gaze is turned to the water or reflection. Leaving a jug prolongs the time of contemplation. Figure dimensions: 89x50x49 cm. Weight: 120 kg. Width: 50cm, Height: 89cm, Depth: 49cm, Weight: 120kg, Condition: Good, Material: Marble, ID: ID-ANTQ-8556
Lot 2793
Jacques Lipchitz(1891 Druskininkai/Litauen - 1973 Capri) nach"Homme à la guitare"/"Man with a Guitar". OriginaltitelWeißer Marmorguss. Posthum ausgeführte Arbeit nach der berühmten kubistischen Kalksteinskulptur des Bildhauers von 1915 (im Museum of Modern Art in New York), das im selben Jahr sein Galerist Léonce Rosenberg in Paris zeigte und damit für Aufsehen sorgte. Lipchitz schuf ein sehr abstraktes, aus einfachen geometrischen Formen additiv komponiertes Werk, bei dem man auf den ersten Blick nicht die Teile erkennt, aus denen der menschliche Körper besteht. Dieser Ansatz korrespondiert mit den kubistischen Gemälden Pablo Picassos und zeitgleich entstandenen Skulpturen Alexander Archipenkos. H. 92 cm.After Jacques Lipchitz (1891 - 1973). Contemporary, posthumous marble cast sculpture after the original limestone sculpture in the Museum of Modern Art in New York.
Lot 238
Snejana Simeonova(Geb. in Sofia. Tätig in Bulgarien) Weibliche StatuetteBronze, dunkel patiniert u. schwarzer Marmor. Auf der Unterseite sign. u. dat. (19)90. Auf einer querovalen Plinthe stehender, stilisierter, zur Seite geneigter Halbakt mit abgeplattetem, überdimensional breitem Oberkörper. Die Bildhauerin studierte 1971-1977 an der Akademie der Bildenden Künste in Sofia, hatte seitdem mehr als 20 Einzelausstellungen und 100 Gruppenausstellungen, nahm an über 35 internationalen Bildhauer-Symposien teil, wobei sie eine Reihe von Auszeichnungen erhielt. Ihre Arbeiten befinden sich u. a. in der Nationalgalerie in Sofia. H. 60,5 cm Beigefügt: Zertifikat von Peter J. Orth, Peter J. Orth-Haus, Bonn, 11.8.1998.Dark patinated bronze and black marble sculpture. Signed and dated (19)90. Accompanied by a certificate.
Lot 52
AFTER GEORGE DEMANGE (French, 1865-1945), patinated bronze - 'Bretonne au Gui', head and shoulders sculpture of a maid of Breton wearing characteristic headdress, modelled on books and mistletoe, signed, foundry stamp, numbered 6/9484, on pink marble plinth applied with applied engraved title plaque, c. 1900, overall 32.5cms (h)Provenance: deceased estate Vale of GlamorganComments, minor rubbing commensurate with age, plaque engraved 'Salon des Beaux Arts'
Lot 33
*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument, image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Lot 34
*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Lot 103
LADISLAV SALOUN (Czech / Bohemian 1870 - 1946) - Susan | technique: marble | 43 cm | signature: signed | condtion: restored | Lot description | Ladislav Saloun, an important Czech sculptor of the turn of the 19th and 20th centuries, is known primarily for his expressive and symbolist work. Characterized by delicate modeling and a calm, introspective atmosphere, this marble nude embodies his masterful work with the material and his ability to capture both the fragility and strength of the human figure. The sculpture is a typical example of Saloun's ability to combine naturalistic elements with a touch of idealism and symbolism, reflecting his deep artistic exploration of the human psyche and emotions. The work represents a timeless piece of modern Czech sculpture and is evidence of Saloun's contribution to the formation of Czech cultural identity. | condition report*In case of missing photos, please feel free to contact us.
Lot 128
REMBRANDT BUGATTI (French / Italian 1884 - 1916) - Gazelle | around 1900 | technique: patinated bronze, marble base, posthumous cast | 33cm x 34cm x 15cm (H x W x D) | signature: marked | Lot description | Bronze sculpture "Gazelle" by the renowned Italian-French sculptor Rembrandt Bugatti, known for his fascination with animals and their faithful rendering. Bugatti, who often worked directly in menageries and zoos, was able to capture the dynamism and elegance of animals with a unique sense of detail and movement. This gazelle sculpture stands out for its lightness, grace and delicate modeling, typical of Bugatti's work. The work represents a harmonious combination of realism and artistic expression, which makes it an exceptional example of animalistic sculpture from the early 20th century. | condition report*In case of missing photos, please feel free to contact us.
![After Jules Moigniez [1835-1984]A Large reproduction patinated Bronze sculpture of a highland stag. Sat upon a marble base. [](https://cdn.globalauctionplatform.com/e6bc5fa3-685b-479f-99d4-b22900b5d5a2/c9fc5ec2-01fa-4ef8-b24c-b22900c76d17/468x382.jpg)
Lot 51
λ GEORGE WEIL (AUSTRIAN, B.1938) 'ADAM AND EVE' SCULPTURE; MADE FOR WJ LTD; 1971 Silver, gold, lapis lazuli, freshwater pearl; mounted on a marble plinth base. Signed and marked 'No. 65' 35cm high Accompanied by a preparatory ink study for the sculpture, signed 'G. Weil' and dated '1971', 47 x 35cm.
Lot 15
This pewter and bronze figurine depicts a rider capturing a runaway horse. Crafted using a blend of fine metals, including lost wax bronze, fine pewter, brass, copper, 24-karat gold vermeil, and accented with hot torched acid patinas like black nickel, rose copper, and turquoise, the sculpture is mounted on a marble base. Legends backstamp en verso. Artist engraved signature C.A. Pardell along with hand signed artist signature and date in gold ink by artist Christopher Pardell. Gold colored arrowhead maker mark embedded into base. Artist: C. A. PardellIssued: 1991Dimensions: 11.75"L x 7.75"W x 8"HEdition Number: 930 of 950Manufacturer: LegendsCountry of Origin: United StatesCondition: Age related wear.
Lot 428
Bronze sculpture of a horse's head, mounted on a black marble base, 20cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).
Lot 4165
Klassizistische Marmorstatue nach dem hochklassischen Vorbild der Aphrodite der Gärten, um 1800 - frühes 19. Jhdt. Leicht unterlebensgroße, klassizistische Marmorstatue der Aphrodite nach dem Vorbild einer hochklassischen Skulptur des Alkamenes im Heiligtum der Aphrodite der Gärten. Die Skulptur des Alkamenes ist im späten 5. Jhdt. v. Chr. für das Heiligtum der Aphrodite am Fluss Ilissos in der Ebene von Athen geschaffen worden und nur aus Schriftquellen bekannt. Ein Fragment eines Oberkörpers aus dem Aphroditeheiligtum von Daphni nördlich von Athen wird als frühe Variation des Typs angesehen, der für zahlreiche Varianten einer "angelehnten Aphrodite" Vorbild war. Kopien aus römischer Zeit (u.a. im Museum von Heraklion und eine besonders gute Parallele zum vorliegenden Exemplar aus dem Louvre) geben eine genauere Vorstellung vom Typus. Charakteristisch sind der unverschleierte Kopf, die relativ hohe Stütze (Pfeiler oder Baum) unter dem leicht abgespreitzten linken Oberarm sowie die entblößte linke Schulter. Der rechte Arm ist angewinkelt. Das schräg nach vorne geschobene linke Bein kreuzt das rechte Standbein. Die Figur ist mit einem kunstvoll gefalteten, am Oberkörper gegürteten Chimation bekleidet. Haltung und Faltenwurf der vorliegenden Statue sind sehr eng an eine römische Kopie der hochklassischen Statue aus dem zweiten Viertel des 1. Jhdts. n. Chr. im Louvre angelehnt. Füße knapp oberhalb der Sprunggelenke abgebrochen. Die linke Hand mit dem vorderen Unterarm sowie der rechte Unterarm fehlen, gleichfalls der Kopf. Wohl bewusst als Torso geschaffen. Diverse leichte Bestoßungen. Oberfläche gründlich gereinigt. Modern auf schwarzem Steinsockel mit massivem Stahlstift montiert. Qualitativ ausgesprochen hochwertige Kopie eines bedeutenden hochklassischen Bildwerkes, das als Typus zahlreiche Werke der antiken Skulptur, Plastik und Kleinkunst inspiriert hat. Höhe ca. 108 cm (mit Sockel 135 cm), Breite ca. 54 cm, Tiefe ca. 30 cm. Provenienz: Aus der Sammlung Dr. H. Lanz, München. Erworben in den 1980er Jahren aus einer französischen Privatsammlung in Antibes. A Neoclassicistic marble statue based on the high-classical paradigm of the Aphrodite of the Gardens, circa 1800 - early 19th century A Neoclassicistic marble statue based on the high-classical paradigm of the Aphrodite of the Gardens, circa 1800 - early 19th century Slightly less than life-sized, neoclassicistic marble statue of Aphrodite based on a high classical sculpture of Alkamenes in the Sanctuary of Aphrodite in the gardens. The sculpture of Alkamenes from the late 5th century B.C. was created for the sanctuary of Aphrodite on the Ilissos River in the plain of Athens and is only known from written sources. A fragment of an upper body from the Aphrodite sanctuary of Daphni, north of Athens, is considered to be an early variation of the type that was the model for numerous variants of a "leaning Aphrodite". Copies from Roman times (including those in the Heraklion Museum and a particularly good parallel to the present example from the Louvre) give a more precise idea of the type. Characteristic are the uncovered head, the relatively high support (pillar or tree) under the slightly splayed left upper arm and the exposed left shoulder. The right arm is bent. The left leg, pushed forward at an angle, crosses the right supporting leg. The figure is dressed in an artfully folded chimation belted to the upper body. The posture and folds of this statue are very close to a Roman copy from the second quarter of the 1st century A.D. of the high-classical statue kept in the Louvre. Feet broken off just above the hocks. The left hand with the front forearm and the right forearm are missing, as is the head. Various moderate chips. Probably deliberately created as a torso. Surface thoroughly cleaned. Recently mounted on a black stone base with a solid steel pin. Extremely high-quality copy of an important, high-classical work of art, which as a type has inspired numerous works of ancient sculpture and minor arts. Height ca. 108 cm (with base 135 cm), width ca. 54 cm, depth ca. 30 cm. Provenance: From the collection of Dr. H. Lanz, Munich. Acquired in the 1980s from a French private collection in Antibes. Condition: II -
Lot 4166
Klassizistische Marmorstatue nach dem Vorbild der hochklassischen Aphrodite des Typus "Fréjus", um 1800 - frühes 19. Jhdt. Unterlebensgroßer Marmortorso einer Aphrodite des Typus Fréjus. Das hochklassische Vorbild (um 420 v. Chr.) gilt als eine Schöpfung des Kallimachos. Von dem Typus existieren zahlreiche Kopien aus römischer Zeit in unterschiedlich feiner Ausführung (u. a. aus Pergamon und Delos sowie Exemplare im Museum von Neapel und im Louvre). Charakteristisch sind das linke Standbein und das rechte, zur Seite gestellte Spielbein. Die Figur trägt einen ungegürteten Chiton, der von der linken Schulter gerutscht ist und die linke Brust entblößt. Der Kopf ehemals zur Standbeinseite gedreht. Die erhobene Rechte zieht den über den Rücken gelegten Mantel, der seitlich über den linken angewinkelten Arm herabfällt, über die rechte Schulter. Der linke Unterarm nach vorne weisend. Füße knapp oberhalb der Sprungelenke abgebrochen. Die linke Hand mit dem vorderen Unterarm sowie der rechte Arm fehlen, gleichfalls der Kopf. Wohl bewusst als Torso geschaffen. Sorgfältig gereinigte Oberfläche. Modern mit schwerem Stahlstift auf einen schwarzen Steinsockel montiert. Bei der Montage wurde die Achse der Skulptur nicht ganz korrekt beachtet, sodass sie etwas nach rechts kippt. Qualitativ sehr hochwertige Kopie eines hochklassischen Bildwerkes, das als Typus zahlreiche Werke der antiken Skulptur und Kleinkunst inspiriert hat. Höhe ca. 90 cm (mit Sockel 108 cm), Breite ca. 44 cm, Tiefe ca. 30 cm.Provenienz: Aus der Sammlung Dr. H. Lanz, München. Erworben in den 1980er Jahren aus einer französischen Privatsammlung in Antibes. A Neoclassicistic Aphrodite statue modeled on the high-classical Aphrodite of the "Fréjus" type, circa 1800 - early 19th century A Neoclassicistic Aphrodite statue modeled on the high-classical Aphrodite of the "Fréjus" type, circa 1800 - early 19th century Smaller than life-size marble torso of an Aphrodite of the Fréjus type. The high-classical model (around 420 B.C.) is considered a creation of Kallimachos. There are numerous copies of this type from Roman times in varying degrees of fineness (including items from Pergamon and Delos as well as examples in the Naples Museum and the Louvre). The left supporting leg and the right free leg, which is set to the side, are characteristic. The figure wears an unbelted chiton that has slipped off the left shoulder, exposing the left breast. The head was previously turned to the supporting leg side. The raised right hand pulls the coat that is draped over the back over the right shoulder, which falls down to the side over the bent left arm. The left forearm pointing forward. Feet broken off just above the hocks. The left hand with the front forearm and the right arm are missing, as is the head. Probably deliberately created as a torso. Surface thoroughly cleaned. Recently mounted on a black stone base with a heavy steel pin, which does not perfectly match the axis of the statue and tilts slightly to the right. Very high quality copy of a high-class work of art, which as a type has inspired numerous works of ancient sculpture and minor arts. Height ca. 90 cm (with base 108 cm), width ca. 44 cm, depth ca. 30 cm. Provenance: From the collection of Dr. H. Lanz, Munich. Acquired in the 1980s from a French private collection in Antibes. Condition: II -
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