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Click here to subscribe§ Ursula Edgcumbe (1900-1985) Study for The Finding of Mosespencil and ink37.5 x 24.5cmProvenance:The collection of Quentin StevensonThe present work is a sketch used for the completion of a sculptural relief carved from Hopton Wood stone and currently held in a private collection. The Finding of Moses was Edgcumbe's first sculpture.
Simon Hepworth Nicholson (1934-1990), February, 1964, a cork relief sculpture, signed to the reverse58 x 49.5 x 15cmExhibited:St Ives, The Tate Gallery, 13 February - 14 April, 1985, cat. no.149New York, The John Guggenheim Memorial Foundation (details untraced)In good condition, a few paint splashes to case.
A LOUIS XVI MARBLE AND ORMOLU MANTEL CLOCK BY JEAN SANGUINEDE (PARIS, LATE 18TH CENTURY) the two train movement with outside count wheel, silk 'tic tac' escarpment and striking on a bell, the 14cm enamel dial signed 'Sanguinede Paris' and 'Coteau', with Roman numerals at the hour marker, Arabic numerals at the quarter hours and Arabic numerals for the date dial, with gilt chased and pierced hands, the drum case is surmounted by an eagle cresting and flanked by two Sèvres style soft past figures after Louis-Simon Boizot's (1743-1809) “L’Étude”, the male 'Philosopher' and the female 'Learning', a panel beneath in bas relief depicting a sacrifice to Cupid in the manner of Claude Michel, called Clodion (1738-1814), the Carrera marble base inset with a central pierced ormolu frieze of opposing sphinx and two further classical masks, on turned and leaf cast bun feet, 54cm high x 60cm wide x 20cm deepProvenance: The Digby family.Jean Sanguinede is recorded in Watchmakers & Clockmakers of the world by G. H. Baille. It is noted he was active in Paris between 1777 and 1789. The dial is also signed by Joseph Coteau (1740-1801), one of the most important émailleurs of this period, who executed enamelled dials and decorative plaques for clocks of significance. The mounted figures are after those by Louis-Simon Boizot, sculpteur du roi, who became Director of Sculpture at Sèvres in 1773 until his death in 1809. He is renowned for producing some of the firm's most important recorded works whilst working against a backdrop of turmoil and upheaval. A similar clock of the same period also mounted with Sèvres soft paste figures resides in the Royal Collection, formerly at Carlton House in the Prince of Wales's Dressing Room, RCIN 30118.
AFTER BERTEL THORVALDSEN, 'AGES OF LOVE' NINTEENTH CENTURY SCULPTED RELIEF TERRACOTTA PLAQUE, depicting an ancient scene of Psyche distributing cupids amongst ages, modelled on an ancient Greek sculpture, '845' engraved to the reverse with well-worn remnants of sticker 'Thorwaldsen, Altar of Love,' and remnants of older mounting paper, length 33cm x height 14cm, painted sage background (1) (Condition Report: visible chips to the upper length of the frame, marks and slight scratches to the paintwork, relief appears complete)
Our Lady of The Immaculate Conception on cherubs, gilt and polychrome wood sculpture, glass eyes, silver crescent and crown en relief, carved, marbled and gilt wooden pedestal, Portuguese, 18th C. (2nd half), minor fault on a finge, silver without marks, pursuant to Decreto-Lei nº 120-2017, of September 15th – art. 2nd, no. 2, paragraph c), Dim. - (escultura com peanha) 46 cm
Splendid larger-than-life size high relief sculpture of a Recumbent made with bonded bronze, a medium that American Contemporary artist Bill Mack has mastered for his depictions of erotic women. Made in the small edition of twenty-five, Mack used a cold cast method of bronze powder with resin bonders that results in a pure bronze surface. Mack patinates the nude with a skin smooth bronze finish that contrasts with the rugged tool marks that surrounds her. Signature carved on upper right: Bill Mack. Edition number in pen on upper right: XVI/XXV. Artist: Bill Mack (American b. 1949)Issued: c. 1990Dimensions: 68"L x 10"W x 48"HEdition Number: XVI/XXV (16 of 25)Country of Origin: United StatesCondition: Age related wear.
ANTHONY PEARSON (AMERICAN B. 1969) UNTITLED (POUR ARRANGEMENT) 2008 Bronze sculpture with silver nitrate patina, base, pedestal, two framed solarized silver gelatin photographs Height inc. pedestal, base and bronze 144cm (56½in.), dimensions of framed photographs, each 42 x 35.5cm (16.5 x 14in.)Provenance: Marianne Boesky Gallery, New York Acquired from the above in 2008Working in his native Los Angeles, Anthony Pearson's contemplative, understated practice traverses several media. He has been the subject of solo shows at Contemporary Art Museum, St. Louis, and Midway Contemporary Art, Minneapolis; his work is in the permanent collections of the Hammer Museum and the Art Institute of Chicago. Allowing him to combine various techniques and materials, Pearson's 'arrangements' make for engaging juxtapositions of forms. Several such works share the specific hybrid configuration at hand - a sculpture flanked by two photographs - forming a contemporary garniture of sorts. Pearson calls attention to the materiality of his creation: the unyielding lines of the picture frames throw the uneven, oozing metal sculpture into sharp relief. Like the poured bronze, the solarised photographs toe the line between controlled and arbitrary processes, such as Pearson's carefully incised lines which are subjected to overexposure naturally creating a random pattern and effect Condition Report: Mould to one of the silver gelatin photographs, mount and backboard. Surface dirt throughout bronze, base and pedestal. Condition Report Disclaimer
Anonymous, bronze sculpture of a kingfisher with a fish in its beak, sitting on a glass block with etched floral decor and layered glass relief over it, resting entirely on a bronze-colored iron tooled stand, standing on 4 legs, 168 cm high, 57 cm wide, upper part 10 cm deep, legs 60 cm deep (glued)
Bernard Meadows, British 1915-2005 - Fish Relief, opus 19, 1955; bronze, from an edition of 6 plus 1 A/C, signed with monogram lower right and with indistinct foundry stamp lower left, 39.5 x 57.5 cm (ARR) Provenance: with Gimpel Fils, London (label attached to the reverse of the frame); Miss D. D. Campbell Salmon, purchased c.1967 (according to the inscribed label attached to the reverse of the frame) Literature: Alan Bowness, 'Bernard Meadows: Sculpture and Drawings', The Henry Moore Foundation in association with Lund Humphries, London, 1995, p.138, illus. p.139 BM35 Note: the present work is one of a number of reliefs the artist made in the 1950s, evoking the appearance of fossilised and paleolithic forms. As an assistant to Henry Moore in the 1940s, Meadows turned to animal forms in his sculpture to avoid being compared to his teacher, and other reliefs evoke his popular subjects of birds and crabs. A series of these reliefs 'Four Small Reliefs on Cock Theme, 1952' is now in the collection of Birkenhead Art Gallery. These works were made following Meadows inclusion in the Venice Biennale in 1952, alongside Geoffrey Clarke, Lynn Chadwick and Kenneth Armitage.
ARTHUS BERTRAND: A GOLD AND CULTURED PEARL ROSARYThe cultured pearls interspersed by gold beads and rondelles, leading to a circular gold plaque depicting in relief the portrait of Virgin Mary, suspending a similarly-set pierced baptismal cross, in 18K gold, French assay marks, signed Arthus Bertrand, length 47cm (approx. length of necklace (no clasp): 67cmFor over 200 years, Maison Arthus Bertrand has been known for its exceptional craftsmanship in jewellery, passed down through six generations of the same family. Founded in 1803 by Arthus Claude Bertrand, the company initially published travel accounts funded by the Napoleonic Empire, gaining recognition for its detailed work. Located on Rue d’Hautefeuille in Paris, it became renowned for its creative excellence and scholarly publications, eventually becoming the official publisher for the French Navy’s geographic society.A significant turning point came when Arthus-Claude Bertrand married the daughter of Michel-Ange Marion, leading to a merger with Maison Marion, known for its embroidery, insignia, military flags, and Legions of Honour. This merger shifted the focus entirely to jewellery and insignia. Over generations, the Maison expanded its expertise, using techniques like bas-relief sculpture, stamping, grand feu enamelling, and engraving. In 1937, the launch of its first jewellery collection, featuring religious medallions and avant-garde pieces, marked a pivotal moment.Under the creative direction of Emmanuel Aubry in 2016, and later Camille Toupet, Arthus Bertrand embraced contemporary jewellery design while honouring its heritage. Toupet's innovative approach introduced fresh designs, such as the ribbed grosgrain texture of the Ruban collection and the laurel leaves of the Gloria Etoilée collection. The Maison continued to innovate with vibrant enamelled medallions and the refined Royale collection. Arthus Bertrand’s appeal lies in blending historical elements with modern elegance, resulting in sophisticated and feminine creations that resonate with contemporary lifestyles.Once mainly seen in religious settings, rosaries have now become fashionable. Designers and style icons have embraced the rosary's intricate beauty and symbolism, incorporating them into modern outfits. This trend blends Gothic and Renaissance influences, making rosary jewellery a meaningful and stylish accessory. Rosary necklaces have evolved from tools for prayer and meditation to fashionable jewellery pieces. While they still represent faith and reflection, their versatile designs make them suitable for occasions like baptisms, confirmations, weddings, or birthdays. Modern rosary necklaces serve as stylish reminders of spiritual commitment, with various designs, metals, and gemstones allowing for subtle self-expression. This evolution has integrated the rosary into contemporary fashion, broadening its appeal and gently challenging traditional views of religious accessories in everyday style. Condition Report: Pearls: of white tint with pink and green overtones, high lustreCircular clasp: with personal inscription: ‘14 juin 2009, Lara Poupée, Mamie’ located on the reverse with signature Arthus BertrandNormal sign of wear, overall in good conditionTotal gross weight approx. 36.2g
Derek Carruthers (1935-2021) - Kinetic sculpture: Relief, fibreglass resin, wood, paint and mirrors, signed and dated April 1966 on reverse, 128 x 129cm "[1964] - Intrigued by the possibilities of casting forms in fibreglass / resin, I began to use sheets of latex stretched over formers to produce perfect algebraic curves in three dimensions from which plaster moulds could be made. The process was central to most of my work for the next 15 years"
2nd-3rd century A.D.. From a colossal relief, depicting a life-size head of a goddess or an Amazon with a smooth reverse; pronounced lips and wide brow; the hair arranged in waves leaving the ears partially uncovered, secured with a taenia; mounted on a custom-made display stand. Cf. Bonanno, A., Roman relief portraiture to Septimius Severus, Oxford, 1976, pls.294-295, 306, for similar portrait relief in style, from the Arch of Severus at Leptis Magna. 11.9 kg total, 32 cm including stand (12 1/2 in.). The style is akin to the sculptures of the Severan Age with a naturalistic treatment of the hair, and a more restrained use of the drill. The sculpture displays the same characteristic oval broad face with fleshy round cheeks, widely arched brow and big eyes of the portraits of Julia Domna. The alternative identification of the head as an Amazon can be deduced from the taenia and the details of the tear ducts, linked to a possible representation of a combat scene in which an Amazon suffers in agony after receiving mortal wounds.From an English private collection, 1970s-late 1990s. English private collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12163-218598
Late 2nd-early 3rd century A.D.. Modelled naturalistically in the round in an advancing pose with face, muzzle and tooth detailing within the open mouth, the tufts of the animal's mature mane individually rendered; filling hole on the back; the mouth open acting as a spout; North African workmanship; mounted on a custom-made display stand. Cf. Richter, G.M.A., Animals in Greek Sculpture, Oxford, 1930, pp.3ff; Toynbee, J.M.C., Tierwelt der Antike, Mainz-Rhine, 1983, pp.54ff.; Padgett, J.M. (ed.), Roman Sculpture in the Art Museum Princeton University, Princeton, 2001, p.257, no.97; Liverani, P., Spinola, G., Vaticano, La Sala degli animali nel Museo Pio-Clementino, City of Vatican, 2003. 1.5 kg total, 20.5 cm high including stand (8 in.). The lion was famously featured in many ancient myths, perhaps the most famous being that of Hercules (Herakles) slaying the Nemean lion for his first labour, but it was also linked with the cult of the goddess Cybele, where it is usually represented sculptured in relief on either side of her throne.with Sotheby’s London, 9 December 1994, no.221. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11797-206532. (For this specific lot, 5% import VAT is applicable on the hammer price.)
Mid 20th Century A.D. or Earlier. With drum-shaped head and tapering upper body, incised circular eyes and slit mouth; diagonal line to the chest indicating a cloak; band of high-relief triangular panels to the lower body; mounted on a wooden plaque; from Indonesia. 1.16 kg total, 21 cm high including stand (8 1/4 in.).Ex Welsh country estate, 1960s-1970s. Acquired from Mark Davis of Chepstow, Monmouthshire, Wales, UK. From the 30-year-old sculpture collection of N. Churchill, Pembrokeshire, South-West Wales, UK. Property of Mr A.B., an American collector. [No Reserve]
Exquisite two short-handled vase, sculpted by Salvador Debon and decorated by Vincent Navarro. The vase features a high relief scene of a Japanese figures in a garden. Incredible details on the floral patterns on the kimonos and delicate blossomed flowers. Lladro backstamp. Sculpture and decorator signed. Numbered 590. A round wooden base adorned with a Lladro brass plaque is included: 8.5"W x 2.75"H. Certificate of Authenticity included. Artist: Salvador Debon and Vincent NavarroIssued: 1988 - 1989Dimensions: 9.5"L x 9.25"W x 19.25"HEdition Number: 590Manufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Basalt carved Buddha head with a wooden pedestal in the style of Borobudur.Borobudur is a 9th-century Mahayana Buddhist temple and is the largest Buddhist temple in the world. It is located in Central Java, Indonesia. The building is decorated with 2,672 relief panels and originally had 504 Buddha statues. Of these 504 Buddha statues, around 300 are damaged (most headless), and the rest of the heads have fallen into private and public collections around the world.(Incl Stand) Height: 26 1/2 in x width: 9 1/2 in x depth: 10 1/2 in. Gross weight of lot: 78 lbs.Condition: There are chips and small losses along the neck/base of the head. There is a small chip along the apex of the bun. A few minor chips along the edges. Some dust gathered in the recessed areas of the sculpture. Some light wear to the wooden base.
Denis Mitchell (British, 1912-1993)Carnstabba signed with initials, titled and dated 'CARNSTABBA/1966/DAM' (to slate verso)slate68 x 25.5cm (26 3/4 x 10 1/16in).Footnotes:ProvenanceWith Flowers East, LondonExhibitedBath, Festival Gallery, Denis Mitchell Sculptures 1950-1978, April 1978, no. 70Swansea, Glynn Vivian Art Gallery, Festival Exhibition of Sculpture by Denis Mitchell, 6 October-3 November 1979, no. 61, illustratedNewlyn, Newlyn Art Gallery, Denis Mitchell Sculpture & Drawings, 1-27 November 1985, no. 22, illustratedLondon, Crane Kalman Gallery, Denis Mitchell: Selection of Sculptures and Reliefs, 9 October-1 November 1986, no. 30 (as Constabba)St. Ives, Penwith Galleries, Denis Mitchell: Sculptor, 30 June-1 August 1992, no. 66, illustratedLondon, Flowers East, Denis Mitchell, 1993, no. 62Swansea, Glynn Vivian Art Gallery, Denis Mitchell Sculpture, 26 March-19 June 1994, no. 32London, Flowers Central, Denis Mitchell, 4-28 July 2007, no. 10 Most of these slate reliefs were completed in the early 1960s and were not titled, however Carnstabba (1966) is the only relief to be given a place name title. Carnstabba Hill sits behind St Ives, in between Halsetown and Polmanter.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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
Ca. 300 BC - AD 100 A South Arabian architectural sculpture with a bull carved in high relief. The head has been carved into a piece of marble with a long groove that ends precisely in the middle of the bull's forehead. It could also serve as a decorative element for a fountain. For similar see: Sotheby's Ancient Sculptures and Works of Art, Part I (7 December 2021), Lot 16. Size: 380mm x 205mm; Weight: 11.91kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
SEVEN BOXED PREDATOR PLAYSETS, to include a Predator 2 Stealth Exclusive Micro Bust Ltd, Edition no. 241 of 500, a Predator Defeated Micro Bust Ltd. Edition no. 700 of 2500, a Predator Unmasked Micro Bust Ltd. Edition no. 140 of 3500, a Predator 2 Elder Mini Bust Ltd, Edition no. 1349 of 4000, a Predator 2 Triumphant Micro Statue Ltd. Edition no. 2948 of 3000, a Predator 2 Wall Sculpture Ltd Edition no. 129 of 1000, and a Predator Wall Relief by X-Plus, all appear in new condition however contents not checked for completion, cardboard boxed in good condition with minor wear and dust
A rare pair of late 16th century carved alabaster tomb figures or 'Kneelers' depicting a nobleman and a ladyProbably English, circa 1590Their upturned faces above elaborate ruffs, the nobleman clad in armour, with flowing hair and short beard, his hands clasped in prayer, the lady with serene expression wearing a cap and clad in a wide farthingale skirt holding an open book, the gentleman, 43cm high, 19cm wide, 26cm deep, the lady, 40cm high, 24cm wide, 26cm deep (2 )Footnotes:Perhaps one of the most characteristic types of English ecclesiastical sculpture in the late 16th and early 17th century, 'Kneeler's' were tomb memorials usually modelled as figures of kneeling and praying knights or merchants and ladies or their family members.The tradition of these distinctive figures in England and Wales is probably derived from the custom of 'Pleurants' or 'Weepers' prevalent in the Burgundy region of France. Originating in the earlier Medieval period, figures at first tended to be modelled in flat relief and were often displayed under the framework of decorative canopies. However by the mid-15th century they had become three dimensional sculpted forms carved in marble, alabaster or stone rather than cast in bronze with the male and female subjects either depicted singularly or extending to the surviving family and children praying for their departed loved ones.Standard figural depictions from this later period are typically modelled freestanding, kneeling on cushions or sometimes before prayer desks clad in elaborate costumes often with exaggerated ruff collars. Male figures depicted as merchants were usually clad in long flowing or cleric-like robes whereas those depicted as knights were usually fully or semi-clad in plate armour sometimes with cloaks. Female figures were usually depicted wearing a cap or hat and later in the 16th century their farthingale skirts and sometimes their sleeves became exaggeratedly wider. However both sets of figures would always be depicted with a full round or fan-like half ruffs. Male and female figures depicting husband and wife were often positioned to face each and children might also be depicted in miniature either as a separate group or with the figures themselves, the boys with their father and the girls with their mother. As with much early sculpture, figures would have originally been painted in bright colours although this polychrome decoration, often retouched over time usually has mostly or completely worn away. In addition figures may also have also been subject to the ravages of time and accidental damage with many often becoming detached from their original placings so that today these examples are near impossible to identify whether they depict the deceased or their family members. For a pair of comparable carved stone 'kneeler' tomb figures dated to the early 17th century and possibly of Cornish origin, see Dreweattts, Newbury, Berkshire, Robert Kime: The Personal Collection (Day 1), Contents from Warwick Square, London, 4th October 2023, lot 278.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
BAGA SERPENT Republic of Guinea Wood and pigments Bansonyi/a-Mantsho-na-Tshol features a vertically dynamic, undulating form. The serpent rises from a cylindrical base, with a bulbous convex abdomen below a concave, elegantly tapered neck topped by a protruding, crescent lotus-shaped head. It is adorned with a relief triangular design and exhibits an exceptionally fine aged patina with red, white, and dark brown pigments. H.201cm NOTE The spiritual force represented by this a-Mantsho-ña-Tshol (master of medicine) holds a supreme position in Baga society. The primary physical manifestation of a-Mantsho-ña-Tshol is a brilliantly coloured, larger-than-life aquatic serpent resembling a boa constrictor. The sinuous curves and undulating contours of this elegant sculpture evoke the power, elusive grace, and flexibility of the Baga spiritual entity. From base to summit, the broad vertical column rises, bends to one side, ascends at an angle, and culminates in a bold head with two round eyes. A chain of lozenges, incised and enhanced with applied colour, runs up the length, with the interstices filled in red and white pigments. The geometric forms, pierced and linear decorations, horizontal orientation, and brilliantly coloured surfaces reflect the early Sudanic heritage of the Baga, as is evident in this artefact.
19th Cent. Chinese Qing period sculpture ivory with a nice patina and in the shape of a pumpkin, crowned with a branch with fruits and with a hollow at the front and back with a finely detailed scene in high relief with horsemen and figures || Negentiende eeuwse Chinese Qing - sculptuur in ivoor met mooie patine in de vorm van een pompoen, bekroond met tak met vruchten en met aan de voor- en achterzijde telkens een uitholling met fijn uitgewerkt tafereel in hoog-reliëf met ruiters en personages - hoogte : 35 cm - gewicht : 4170 gram - ca 1870/80
Adam Neate - A 3D Bas relief sculpture painting. Circa 2021.6/15Back panel - Yves Klein blue flocked mounted acrylicFace - Resin mould containing Irridescent filingsTorso - Bio-filament and acrylic paint. Red acrylic with spray fade hand finishing carried out by the artist. Signed and numbered by the artist. Tray framed by Fluorescent Smogg with certificate of authenticity.61.5cm x 43.5cm with frame.
Henry Moore O.M., C.H. (British, 1898-1986)Animal Head signed and numbered 'Moore 9/10' (on the base)bronze with a green patina53 cm. (20 7/8 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, Paris, where acquired by the present ownerExhibitedLondon, Marlborough Fine Art, Henry Moore, 85th Birthday Exhibition, 15 June-13 August 1983, cat.no.20 (another cast)LiteratureHerbert Read, Henry Moore: A Study of his Life and Work, Thames and Hudson, London, 1965, p.226, cat.no.211 (ill.b&w)John Hedgecoe and Henry Moore, Henry Spencer Moore, Thomas Nelson and Sons, London, 1968, p.265 (ill.b&w)Alan Bowness (ed.), Henry Moore: Complete Sculpture Volume 3, 1955-1964, Lund Humphries, London, 1986, p.25, cat.no.396 (ill.b&w)Alan G. Wilkinson, Henry Moore Remembered, Key Porter Books, Toronto, 1988, p.166, cat.no.116John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.220, cat.no.362 (ill.b&w)David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006, p.250, cat.no.178 (col.ill.)As Reinhard Rudolph asserts, Henry Moore's sculptural principles dictated a three-dimensionality (David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006). Paramount to each conception was a front, a back and two sides. This concept seems familiar enough; after all, the fundamental difference between sculpture and painting or drawing is surely the occupation of genuine space, rather than the illusion of it. But for Moore, spatial depth wasn't enough – he wanted to place his work wholly in the real world, where the viewer could walk around it and take in all angles and perspectives. Rudolph cites three exceptions to this creed: Three Forms Relief, Wall Relief (see the following lot), and the present work, Animal Head, all executed in 1955. Quite what prompted this rather dramatic departure from precedent at this particular time is unclear, but the result for Animal Head is a decisive direction, an active move towards the viewer that is unachievable in more four-sided works. It has been suggested that Moore was inspired by the gargoyles that jut out from the cathedrals of Paris' Île de la Cité, the spell-binding Sainte-Chapelle and, of course, the Notre Dame. Animal Head certainly evokes these symbols of the Gothic movement to an extent, but it has a uniqueness and crypticity that opaques any attempt to isolate a single inspiration. This air of mystery, brought about in part by the asymmetry of the work, seems to evolve as you cross from left to right. From the left-hand profile, the head feels distinctly pre-historic, with the angular protrusion of the cheekbone and the shape of the snout evoking a distant, now-extinct beast. Moore engaged with history passionately, as is hinted at by the previous lot, and a nod towards creatures of the past thus seems in character. But as you move to the smoother right-hand profile, the head feels more equine. The mystery starts to dissipate, giving way to the familiarity of a horse leaning over a stable door, mouth gently open as if to receive food from a doting owner. The hollow eyehole that runs through the bronze adds to the fluctuating atmosphere as you round the piece. The light coming through from the other side, creating a mystical, timeless feel in profile, is eclipsed by the dark of the tunnel as you slowly move round, bringing the Animal Head to life vividly. An interesting comparison is drawn to Moore's work of 1980, Horse's Head, some twenty-five years after the present work. While less titularly cryptic, and thus with less of an air of mystery, Horse's Head arguably has less of the distinctive, familiar feel that Animal Head captures from the right-hand profile. It is this dynamic between the familiarity from some angles and the mystery from others that intrigues so tantalisingly in Animal Head. This is energised by a dynamism and decisiveness emerging from a single point of origin, an unseen rear, that is so rare in Moore's sculpture.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
Dame Barbara Hepworth (British, 1903-1975)Maquette for Walk-In signed and numbered 'Barbara Hepworth 12/12' (on the base)bronze with a green and part-polished patina24.7 cm. (9 3/4 in.) highConceived in 1970 and cast by Morris Singer in 1971BH 514Footnotes:ProvenanceWith Gimpel Fils, London, February 1972, where acquired by the present ownerPrivate Collection, South AfricaExhibitedWest Bretton, Yorkshire Sculpture Park, Barbara Hepworth: Centenary, 17 May-14 September 2003 (unnumbered, another cast)Wakefield, The Hepworth Wakefield, Barbara Hepworth: Art and Life, 21 May 2021-27 February 2022 (unnumbered, another cast); this exhibition travelled to Edinburgh, National Galleries Scotland, 9 April 2022-2 October 2022, St Ives, Tate, 26 November 2022-1 May 2023 Literature Sophie Bowness (ed.), Barbara Hepworth, The Plasters: The Gift to Wakefield, Lund Humphries in association with The Hepworth Wakefield, Farnham, 2011, pp.57 & 154The last two decades of Hepworth's life were marked by ill health and heartbreak. The death of her eldest son Paul and the ending of her second marriage to the artist Ben Nicholson, were exacerbated by a diagnosis of tongue cancer, a broken leg, and an increasingly aging body. And yet, in spite of all this she continued to develop her work in more and more innovative ways, incorporating new methods and materials. She went as far as to say in 1970 (the year that the present work Maquette for Walk-In was conceived) in an interview with her son-in-law Alan Bowness that 'even breaking my leg in 1967 was a good thing because it made me extend my arms as far as I could', shedding light on the sculptor's urge to create and innovate in the face of hardship (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14).Hepworth first began working with bronze in 1956. After initially believing that the material was at odds with her practice, and her search for 'truth in material', she soon became enamoured with the possibilities that bronze provided. As a carver first and foremost, the discovery of a way in which to bring together carving and casting in her work saw a distinct shift in her practice. Not only was she able to explore a more monumental scale, but it also meant that she was able to increase her output in response to demand for her work, through the production of multiples. But working in bronze meant collaborating with foundries. Over the course of her career, Hepworth worked with four different foundries to produce her sculptures, but it was Morris Singer who she would choose to work exclusively with from 1963 until her death in 1975. She established a very close working relationship with the foundry and its manager, Eric Gibbard, which became fundamental to the success of her bronzes and the casting process.The art historian and close friend of Hepworth, Abraham Hammacher, noted of the artist's later works, particularly those conceived in the last seven years of her life, that it was 'the tension in the form; the structures; the verticality which remained dominant...; the vigour in the stacking of elements; the ever-varying, constantly renewed experience of piercing volume, with the piercing itself more than anything the hallmark of her spatial sense and sensations; the resumption of group compositions after a long interval; the dual character of her surfaces, firstly as the enclosing element of three-dimensional spatial forms and secondly as 'surface as such', accentuated in some manner (linear inscription, 'scratches', low relief, colour)'. (Abraham Marie Hammacher, Barbara Hepworth, Thames and Hudson, London, 1998, pp.195-6) The present work, Maquette for Walk-In, was conceived in 1970 after the monumental sculpture Three Obliques (Walk-In), arguably one of Hepworth's most impressive works in bronze. The sculpture is made up of three pierced and interconnecting monoliths, reminiscent of the standing stone monuments that Hepworth was familiar with, such as Avebury and Stonehenge, as well as those closer to home in Cornwall, perhaps Mên-an-Tol (meaning 'holed stone' in Cornish), located to the south of St Ives. Of her later sculptures, Hepworth observed that she envisaged them as 'objects which rise out of the land or the sea, mysteriously' (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14). The circular piercing in each block contributes to the expansion of space within the work, revealing new perspectives, and inviting the viewer to participate directly with the sculpture. Hepworth increasingly found in her work that it was impossible to have one without the other; to think of the landscape without also thinking 'about the human figure and human spirit inhabiting the landscape. For me, the whole art of sculpture is the fusion of these two elements' (Barbara Hepworth in her essay 'A Sculptor's Landscape', included in Barbara Hepworth: Drawing from a Sculptor's Landscape, Cory, Adams and Mackay, London, 1966, p.10). Even the title of this work implies an invitation to the viewer to 'walk-in' to the work, to experience its totality, which whilst literally true of the monumental cast of the work, also rings true for the maquette. Moving around the sculpture, moving closer and further away, the viewer is afforded glimpses of the work in new configurations and observations. As the decades progressed, Hepworth became more explicit about the way in which she sought to encourage physical engagement between the viewer and the sculpture. She noted in 1968, that 'there's no fixed point for a sculpture, there's no fixed point at which you can see it, there's no fixed point of light in which you can experience it, because it's ever-changing and it's a sensation which cannot be replaced by words or colour or anything else at all, and your view of approaching a sculpture is totally different from a view where you walk backwards' (Barbara Hepworth in conversation with Edwin Mullins, included in Barbara Hepworth: Writings and Conversations, Sophie Bowness (ed.), Tate Publishing, London, 2015, p.213). And yet, Hepworth often used colour to emphasise the contract between spaces, interior and exterior, and to highlight the texture of the form as is visible here. The blue-green patina of the wide, expansive surfaces of Maquette for Walk-In is complimented by the caramel-golds of the polished edges, which peek through the pierced forms as the viewer moves around the sculpture, taking it in from every angle, as the artist suggests. Indeed, the benefit of her table-top works as opposed to the monumental 'walk-through' sculptures, is that these allow the viewer to take in the work all at once, to experience the form in its totality.We are grateful to Dr Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
(1) Gilbert & George, Invitation for the anniversary of 'Underneath the Arches', 1969. Lithograph with relief halftone and watercolour additions. Printed on thick white sheet, 20 x 25 cm, folded to 10.5 x 20 cm for mailing, with red dot sticker closure. Verso contains hand added artists' names and event date in silver marker. The same marker was used to write the postal information on the envelope addressed to Frans Haks, postmarked London 21 Oct. 1969. This was a personal invitation sent to selected figures in the art world to celebrate a year of performing their ‘singing sculpture’ in a special outdoor performance. Scarce, in the collection of MoMA New York/ Art & Project Gift. (2) Original b/w photograph, 20.2 x 25.2 cm, made by Georges Verberne Fotoprodukties Amsterdam. Features the artists duo during their performance at the Stedelijk Museum in 1977, in which they remained motionless for 90 minutes. Signed on recto in black marker 'Love from Gilbert & George'. Verso shows various stamps with photographer and publishing information. The Amsterdam newspaper Het Parool placed the image on March 11 1977, the day after the event. Both items extremely rare and in good condition. (total 2)
BERROCAL, MIGUEL ORTIZ PETITE RHAPSODIE DE LA MAIN Editions Claude Givaudan, Geneva, 1966, no. 55 of 100 copies, signed and numbered in pencil, portfolio of ten folios with synthetic relief prints, letterpress poems hinged to covers, nine (of ten) aquatint etchings and a layered "puzzle sculpture", with each clamshell case measuring approx. 51.5cm x 45cm Condition Report:Available upon request
Marc Aurel zu Pferde und Sockel. Fürstenberg. F-Marken, 1906-1918. Weiß. 1x Modell-Nr. 208, Entwurf 1772 von Jean Jaques Desoches (vor 1769 - nach 1774): Figur des auf einem Pferd reitenden römischen Kaisers (H 24,5 cm). / 1x archtektonischer Sockel mit Trophäenrelief und dem Monogramm "FR" (= Fridericus Rex), original zu einer Plastik Friedrich II. zu Pferde (H 19 cm). Linkes Pferdeohr minimal bestoßen, Gegenstände in der Hand des Reiters fehlen. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:24 Uhr (CET)Marc Aurelius on horseback and pedestal. Fürstenberg. F marks, 1906-1918. White. 1x model no. 208, design 1772 by Jean Jaques Desoches (before 1769 - after 1774): Figure of the Roman emperor riding a horse (h 24.5 cm). / 1x architectural base with trophies in relief and the monogram "FR" (= Fridericus Rex), original to a sculpture of Frederick II on horseback (h 19 cm). Left horse's ear minimally bumped, objects in the rider's hand missing. Provenance : From Thuringian aristocratic property. Restitution property with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 14 | June 2024 | probably 10:24 am (CET)*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.
Große Jugendstil-Figur: Bacchantin. Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture mit Zusatz "Fabriqué en Autriche", ca. 1900-1920. Am Sockel signiert "Cherc" (Pseudonym). Modell-Nr. 4004 28 35. Gips, tonfarbene Mattglasur in Elfenbein, Braun und Grün. H 69 cm. Auf einem rebenverzierten Natursockel stehende, antikisierende Frauenfigur mit langer Weintraubenkette. Partiell minimal brandrissig und gechipped, kleine Kratzer. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:54 Uhr (CET)Large Art Nouveau figurine: Bacchante. Vienna manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture with the addition "Fabriqué en Autriche", ca. 1900-1920. Signed "Cherc" (pseudonym) on the base. Model no. 4004 28 35. Plaster, clay-colored matt glaze in ivory, brown and green. H 69 cm. An antique-style female figure with a long grape necklace standing on a natural base decorated with vines. Partially minimally fire cracked and chipped, small scratches. Call time 13 June 2024 | probably 16:54 (CET)*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.
Große Jugendstil-Büste "Heilige Elisabeth". Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture, ca. 1900-1920, mit Zusatz "Reproduction reservée", um 1895-1898. Um 1899/1900. Am Sockel signiert "A. Rubelle". Modell-Nr. 1977 38 30. Gips, algengrüne Mattglasur. H 51 cm. Nach rechts geneigter Kopf Elisabeths mit verträumt gesenktem Blick, umhüllt von einem großen Tuch, das von einem Diadem gehalten wird. Sockel mit Figurenreliefs, in der Mitte Rollwerk mit Bezeichnung "Elisabeth". Leichte Glasurbereibungen, kleine Bestoßungen. Im GS WVZ taucht der Künstlername "Rubelle" nur im Ausstellungskatalog des ÖMKI (Österreichisches Museum für Kunst und Industrie, heute MAK)1900/01 auf. Mehr ist zum Künstler nicht bekannt. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:58 Uhr (CET) Large Art Nouveau bust "Saint Elisabeth". Viennese manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture, ca. 1900-1920, with the addition "Reproduction reservée", ca. 1895-1898. Around 1899/1900. Signed "A. Rubelle" on the base. Model no. 1977 38 30. Plaster, algae green matt glaze. H 51 cm. Elisabeth's head tilted to the right with a dreamy lowered gaze, wrapped in a large cloth held by a tiara. Base with figure reliefs, scrollwork in the center with the inscription "Elisabeth". Light glaze rubbing, small chips. In the GS WVZ, the artist's name "Rubelle" only appears in the exhibition catalog of the ÖMKI (Austrian Museum of Art and Industry, today MAK)1900/01. Nothing more is known about the artist. Call time 13 June 2024 | probably 16:58 (CET)*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.
Große Jugendstil-Figurengruppe: Lesendes Kinderpaar. Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture, ca. 1900-1920, mit Adlermarke, 1902-1910, und Zusatz "Fabriqué en Autriche". Am Sockel signiert "Perigot" (Pseudonym), Monogramm-Stempel. Modell-Nr. 4399 22 3. Gips, bronzefarbene Mattglasur in Braun und Gold. H 53 cm. Auf einem Ovalsockel stehende Holländerkinder beim Lesen eines Buches. Partiell leichte Alters- und Kratzspuren. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:53 Uhr (CET)Large Art Nouveau figurine group: Reading children. Vienna manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture, ca. 1900-1920, with eagle mark, 1902-1910, and addition "Fabriqué en Autriche". Signed "Perigot" (pseudonym) on the base, monogram stamp. Model no. 4399 22 3. Plaster, bronze-colored matt glaze in brown and gold. H 53 cm. Dutch children standing on an oval plinth reading a book. Slight signs of age and scratches in places. Call time 13 June 2024 | probably 16:53 (CET)*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.
STATUETTE D'AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, VERS XVE SIÈCLE Himalayan Art Resources item no. 1813 44 cm (17 1/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA CENTRAL TIBET, CIRCA 15TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 423, no. 184. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. This tall gilt bronze represents Avalokiteshvara Sahasrabhuja Ekadasamukha—the All Seeing, All Encompassing Lord with One Thousand Hands and Eleven Faces—whose compassionate gaze extends to every corner of the world. The figure's iconography traces as far back as to an Indian stone relief carved in the 5th or 6th century at the rock-cut Buddhist caves of Kanheri, India. Iconographic treatises translated from Sanskrit to Chinese around the 6th century indicate the early dissemination of this form into Kashmir, Central Asia, Tang China, and the Tibetan Empire. Since the reign of the first Dharma King of the Yarlung Dynasty, Songtsen Gampo (604-50), Avalokiteshvara has been the primary tutelary deity of Tibet. Drawing on an iconographic vocabulary of many heads and arms to confer cosmic supremacy on the Great Bodhisattva, this form of Avalokiteshvara was widely revered and further developed by the Palmo and Jowo traditions, modeling the deity with benign features except for the penultimate wrathful head. Retaining its original, gilded base plate, this image of Avalokiteshvara is executed in a refined 15th-century style emerging from a renaissance of Tibetan art, religion, and culture. Its facial modeling, together with the thin, incised lines of floral decoration with blackened silhouettes, nod to the work of Sonam Gyaltsen, a master artist active in Shigatse, c.1430, who contributed to, or perhaps created, one of Tibet's finest traditions in gilded sculpture. Also, the flowers gracing the lower garment, particularly the floral sprays gently floating in place, are nearly identical to the Chinese silk damasks gifted to Tibet during the early Ming dynasty. Rare examples include a Yongle period (1403-24) temple hanging of Shadakshari Lokeshvara in yellow silk that was sold at Bonhams, Hong Kong, 30 November 2022, lot 42, and another in red that was gifted by Sir Joseph Hotung to the Metropolitan Museum of Art, New York (fig.1; 2002.271). For examples of Tibetan gilt bronzes of similar quality depicting Avalokiteshvara with eleven faces, see a smaller figure published in, The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp. 402-3, no. 110. Also compare the Avalokiteshvara identified by inscription to have been made by Sonam Gyaltsen, sold at Bonhams, New York, 19 March 2018, lot 3033. For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金十一面千手觀音像藏中 約十五世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，第423頁，編號184展覽「Buddha：2000 Years of Buddhist Art, 232 Masterpieces 」, 弗爾克林根，2016年6月24日至2017年2月19日這尊頎長的銅鎏金造像呈現十一面千手觀音——梵文意為「十一面千手、全知全能的救主」，其慈悲目光視及世間每一角落。這一形象最早可追溯到印度甘赫裡岩窟之公元五或六世紀所刻石浮雕。圖像學文本於六世紀時期自梵文翻譯成中文，證明這種形象於喀什米爾、中亞、唐代漢地和西藏王朝的早期傳播。自雅礱王朝第一位法王松贊幹布（604-50年）統治以來，觀音一直是藏地主要的守護神。以多面以及多臂之形象彰顯此菩薩遍及宇宙之至高地位，十一面觀音之形象在帕爾莫和覺沃傳統中廣受敬拜，並進一步發展，塑造了這位神祇的慈愛特徵，唯有上數第二層之忿怒面表現其作為至高神明的無盡神通。此尊觀音像仍保留鎏金封底原作，以十五世紀西藏藝術、宗教以及文化之文藝復興時期間形成之精緻風格而造。其面部塑造，以及花卉裝飾的纖細雕刻線條和填黑處理，折射出索南堅贊之傳統。索南堅贊為一位約1430年前後活躍於日喀則地區的工匠大師，西藏最精美的鎏金造像傳統之一，便由其創立或推動。同樣，點綴衣物下擺的花卉，尤其是輕柔飄動的飛花，與明初賞賜藏地的漢地絲綢織錦幾乎完全相同。稀有珍品包括一幅永樂年間（1403-24年）黃底暗花緞織四臂觀音寺廟掛畫（邦瀚斯，香港，2022年11月30日，拍品42），以及由何鴻卿爵士贈予紐約大都會藝術博物館之紅暗花綾四臂觀音像（圖1；2002.271）。至於同樣品質的藏地十一面觀音鎏金銅像，請參見《佛陀之光：故宮博物院與止觀美術館佛教造像》，2019年，頁402-3，編號110。亦可參考另一尊銘文記載為索南堅贊製作的觀音造像，於2018年3月19日在紐約邦瀚斯售出，拍品3033。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
3rd century A.D. Modelled nude in advancing pose with right arm bent across the body and fist clenched to support an attribute (absent); the facial details in light relief and small forelock to the brow; mounted on a custom-made display stand. See Swan Hall, E., 'Harpocrates and Other Child Deities in Ancient Egyptian Sculpture' in Journal of the American Research Center in Egypt, Vol. 14, 1977, pp.55-58, fig.1, pl.XXVII; fig.4, pl.XXVIII, for similar types. 231 grams total, 12 cm high including stand (4 3/4 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.The cult of Harpocrates, began in Ptolemaic times, expanding considerably in the Imperial Roman period, and absorbing influences from the cult of ram of Mendes, the ithyphallic Min, the crocodile god Sobek, and Hercules. The missing left hand probably held a small cornucopia. [No Reserve]
Italian, Lombardy, circa 1480 A.D. Rectangular panel with cartapesta relief of Virgin and Child carved in the half-round; Mary seated, nimbate with hands pressed together in prayer, infant lying across her lap, flanked by four winged angels in poses of adoration; gilt surface with pink flesh tones; inscribed to base 'SALVE REGINA MATE[R MISERICORDIAE]' (Hail Mother the Queen). Cf. similar relief in Metropolitan Museum, accession no.1974.126.4, from North-Italy, 15th century in Castelnuovo-Tedesco, L. and Soultanian, J., Italian Medieval Sculpture in The Metropolitan Museum of Art and The Cloisters, New York: The Metropolitan Museum of Art, 2010, no.51, pp.255–259. 1.07 kg, 36.5 x 27 cm (14 3/8 x 10 5/8 in.). German private collection, 2019. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12056-217445.Like all the ancient and medieval statues, this artwork was also originally lavishly painted and most of the colours are still visible with gold and red and light blue being the main colours used for Saint Mary. Interestingly, the inscription recalls the three first words of the Cluny prayer to the Virgin Mary: SALVE REGINA, MATER MISERICORDIAE (Hail Holy Queen Merciful Mother), used by the Templars as a war song. [No Reserve]
A Flemish marble relief of the Rape of the Lapith women by the centaurs at the marriage of King Peirithous, Attributed to Gérard van Opstal, Flemish, 1594-1668, mid-17th century, Carved in high and low relief, depicting a centaur clasping a woman and with four other women fleeing to the right, with a man to the left brandishing a dagger, 39cm high, 54cm wideProvenance: Christie's, The Property of the Right Honourable Earl of Pembroke, Wilton House, 2 June 1964, lot 83, 168 guineas.Footnotes: Note: This dynamic sculptural relief depicts a famous scene drawn from Ovid. Pirithous, King of the Lapiths, invited the centaurs to celebrate his marriage to the beautiful Hippodamia. The drunken centaurs became out of control and the centaur Eurityon tried in vain to abduct Hippodamia. King Pirithous assisted by Theseus, later took revenge on the centaurs in a battle known as the Centauromachy, a scene depicted throughout art history, from the Parthenon to Piero di Cosimo and Peter Paul Rubens.Gérard van Opstal was registered as apprentice to the Brussels artist Niklaas Diodone in 1621. He later collaborated with his father-in-law, the sculptor Hans van Mildert (c.1588-1638) in Antwerp. At the invitation of Cardinal Richelieu, in about 1642, van Opstal moved to Paris, where he produced architectural carvings and worked under Sarazin on the decorations of the Louvre and the Tuileries, and later on the Hôtel Carnavalet. He specialised in low-relief friezes of mythological subjects, depicting tritons, nereids, and centaurs, for numerous palaces and hôtels particuliers in and around Paris. In 1648 he helped found the Academie Royale de Peinture et de Sculpture.
Saint Joachim, polychrome and gilt wooden sculpture, ivory head, hands and staff, carved and gilt wooden stand, silver halo en relief, Indo-Portuguese, 18th C. (3rd quarter), missing fingers, minor faults on the pictorial layer, halo restoration, silver without marks, pursuant to Decreto-Lei nº 120/2017, of 15 September - art. 2nd, no. 2, paragraph c). Notes: vd. similar copies, fully ivory, in MATIAS, Osvaldo Gil. - "Marfins das Províncias Orientais de Portugal e Espanha no Brasil". Rio de Janeiro: Arte Ensaio Editora, Ltda, 2014, pp. 249 and 250, nºs 214 and 215. a) This lot is subject to CITES export/import restrictions and is duly certified: nr 24PTLX02047C; b) Several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle; c) In Portugal, according to the forecast transposition into the Portuguese legislation of the more recent EU guidance document concerning ivory commerce, the issuing of reexport certifications for non EU countries is suspended; d) We therefore advise potential buyers to inform themselves in advance on the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - (escultura) 30,5 cm
"Brief" Reliquary, gold, decoration en relief "Our Lady of the Rosary" and "Return from Egypt", set with 5 rose cut diamonds, Brazilian, 18th C., missing sculpture of the Child Jesus, broken peg, interior with inscription "RIO JANR", without markings, pursuant to Decreto-ei nº 120/2017, of 15 September - art. 2nd, no. 2, paragraph c). Notes: vd. similar copy in d'OREY, Leonor - "Esplendor e Fantasia - Cinco Séculos de Joalharia". Lisbon: National Museum of Ancient Art, 1995, p. 69, fig. 92; SOUSA, Gonçalo de Vasconcelos e - “A Joalharia em Portugal: 1750-1825”, Civilização Editora, Porto: 1999, p. 86, fig. 91; MATIAS, Osvaldo Gil - "A Ourivesaria e a Joalharia Luso-Brasileira nas Coleções Particulares do Brasil", Id Cultural, Rio de Janeiro: 2022, p. 537, fig. 643., Dim. - 6 cm; Peso - 54,2 g.
Symphony is a larger-than-life size high relief sculpture made with white bonded sand, a medium that American Contemporary artist Bill Mack has mastered for his idealized depictions of women. An erotic nude female is laying on a bed with her negligee and leg slipping out of the deep frame. Mack contrasts the smoothness of her skin to the background's tool comb marks and rugged surface. Signature carved on upper right: Bill Mack. Edition number in pen on upper right: 30/95. Artist: Bill Mack (American b. 1949)Issued: c. 1990Dimensions: 68"L x 8"W x 48"HEdition Number: 30 of 95 Country of Origin: United StatesCondition: Age related wear.
This original high relief bonded bronze sculpture by American Contemporary artist Bill Mack features a young child sitting in a deep oval frame with one foot hanging off its edge in a Trompe-L'oeil effect. Mack used different tones for the girl's hairbow, ruffles on her shirt, and her shorts to emphasize the realism of his subject. Signature carved on lower right: Bill Mack. Edition number in pen on lower right: 23/95. Artist: Bill Mack (American b. 1949)Issued: c. 1990Dimensions: 25"L x 5"W x 34"HEdition Number: 23 of 95 Country of Origin: United StatesCondition: Age related wear.
Francis Wiles, Irish (1889-1956) "Resting Nude," marble, signed and dated 'F. Wiles, 1932' approx. 20"high x 30" long. (1) Naturalistic, but with a degree of stylisation, Frank Wile’s marble sculpture Seated Woman depicts a nude figure, turning, with her head resting on her hands. Both the woman and the rock she sits on are carved from one piece of stone. The artist’s working of stone, and his depiction of the human form, reveals the influence of Oliver Sheppard, and in turn Auguste Rodin. The smooth polished legs and arms of the woman contrast with areas of stone left roughly chiselled. The theme of this work relates closely to Wiles’s 1914 bronze The Dawn of Womanhood, in the Ulster Museum, Born in Larne, Co. Antrim, Francis Wiles was the son of David, a civil servant, and Margaret Wiles, an accomplished woodcarver. Francis—or Frank as he was known—studied at the Belfast School of Art under Seamus Stoupe, and also at the Metropolitan School of Art in Dublin, where his tutor was Oliver Sheppard. He assisted Sheppard and also later taught at the Metropolitan School. Wiles was a prize-winning student, winning the Patterson scholarship at the Belfast School of Art, and a Gold Medal at the MSA in 1913. During his career, he specialised in portraits and figurative sculpture and allegorical works. He became a member of the Royal Ulster Academy, and also exhibited at the RHA, RA and RSA. Among the public sculptures he worked on are the War Memorial in Newcastle, Co. Down. This was designed by Lady Mabel Annesley, who commissioned Wiles to sculpt a lion, using granite from the Mourne mountains, in a style that echoes Assyrian and ancient Egyptian sculpture. In 1927 hr exhibited a granite sketch design for the lion at the RHA. That same year he showed a bronze relief portrait of the President of the Supreme Court in the Irish Republic, J. Creed Meredith, at an exhibition of “Irish Portraits by Ulster artists”. A memorial exhibition of Wiles’s work was held at the Old Museum, Belfast, in 1958. There is also a sculpture by him at St. Columba’s College in Dublin. Peter Murray 2024 Provenance: The Bell Gallery, the Personal Collection of Nelson Bell.
SHOICHI AND COLLEEN SAKURAIHEISEI ERA, 21ST CENTURYA Japanese wood and rice paper illuminated sculpture entitled ‘Curtain', raised on a pine wood stand with short legs, signed in sumi ink, seal and inscribed, 33cm x 36cm x 94cm.Exhibited: ‘Re-Birth: The Collective Works of Colleen and Soichi Sakurai’, 20th February-24th April 2009, TUV Rheinland Forum, Yokohama.The Sakurais describe this piece as 'hand-whittled wood with pine base; high and low relief created by an old technique of burning the wood and then 'scouring' it with an uzukuri (type of bamboo brush)'.
HERBERT WARD (1863-1919) AFRICAN HEAD Bronze, marble base Signed Height (overall): 27.5cm; 10¾, base: 5.5cm; 2 in. wide Herbert Ward was a British sculptor, illustrator and writer. He spent 5 years in the Congo as an officer in the New Congo State and lieutenant of the Emin Pasha relief expedition. His tours in Africa inspired his future artworks which eventually led him to France to work on sculpture from 1899 onwards.
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