A Hellenistic marble funerary stele for Theogeneia, daughter of ArtemidorosCirca 2nd-1st Century B.C.78cm high, 47.5cm wide, 20.5cm deepFootnotes:Provenance:Anonymous sale; Sotheby's, London, 17-18 July 1985, lot 334.Private collection, acquired from the above sale; and thence by descent to the present owner.During the 2nd-1st Centuries B.C. large numbers of figurative relief stelae were produced in the Eastern Mediterranean and give a good indication of daily life and society. They depict prosperous citizens, such as the woman in the above stele, shown sitting on a throne-like seat flanked by diminutive servants. For a discussion of the types of stelae from this region and how they indicate the rise of individual prosperity and cities, see B.S. Ridgway, Hellenistic Sculpture II, Wisconsin, 2000, pp. 189-229.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
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LALIQUE: PLIQUE-À-JOUR ENAMEL, PEARL AND IVORY BROOCH, CIRCA 1900-1903The ivory plaque carved in high relief to depict the heads of three female profiles, the gold quatrefoil frame of sinuous stems with aubergine enamel, issuing green plique-à-jour ivy leaves, within ivy leaf relief, engraved to the reverse, mounted in gold, signed Lalique, pearls untested, two leaves with enamel loss, length 6.8cmFootnotes:René Lalique's relationship with sculpture was deeply intertwined with his mastery of glass and ornamentation. His designs often featured sculptural forms, blending fluid, organic shapes, echoing the artistic depth of sculpture, exploring themes of nature, mythology, and human emotion.In the mid-1890s Lalique began working with Sarah Bernhardt, an actress and sculptor, whose flamboyant personality acted as a catalyst on Lalique's fertile imagination. Whilst she is recognised as an enthusiastic and loyal benefactor of Lalique, she has not been credited in her capacity as a sculptress, in which she undoubtedly advised him.In the late 1890s, Lalique designed a series of jewellery and objets d'art inspired by the sculpture of Auguste Rodin. Lalique's sensitivity to form allowed him to translate Rodin's bold, emotive works into delicate glass and ivory examples, retaining the essence of the sculptural forms while introducing his own innovative techniques. One notable example of their creative collaboration was Lalique's interpretation of Rodin's famous sensual sculpture The Kiss (1882); which he reimagined more than once and in various forms. See Becker, V. The Jewellery of René Lalique, pl. 28-30.In this exquisite jewel, Lalique uses the smoothness of ivory, with its subtle translucency and notable resemblance to marble, to evoke softness and sensuality of skin, thus demonstrating Lalique's skill as a craftsman and his ability to evoke the same emotional resonance as sculpture, albeit in a more intimate and wearable form.For similar carved ivory jewels by Lalique, see Becker, V. The Jewellery of René Lalique, pl. 20-22, 24-30, 108, 112.Accompanied by a certificate from The Department for Environment, Food and Rural Affairs, stating that this pre-1918 item is of outstandingly high artistic, cultural or historical value. Certificate number: 5XJZIAKN, dated 31st October 2024.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Ethel Bower (later Lady Ethel Alice Chivers Harris), British, 1867-1933, a plaster portrait relief of John Roddam Spencer Stanhope, dated 1906, inscribed JOHN · RODDAM · SPENCER STANHOPE · A·D · MCMVI, in walnut frame, plaster - 13.5cm diameter; frame - 21.7cm diameter; together with Portrait Medals of a Generation, Modelled by Ethel A.C. Harris, limited edition, no.85/250, London: Spink and Son, Ltd., 1928 (2)Footnotes: Note: Lady Ethel Alice Chivers Harris (neé Bower) (1867-1933) was the daughter of Edward Chivers Bower JP (1827-1896) of Broxholme, Scarborough, Yorkshire. She reportedly studied at the National Art Training School (Royal College of Art) in the 1890s and moved to London after the death of her father in 1896 and began exhibiting sculpture as Ethel Bower. She married barrister Henry Percy Harris in 1908, and continued to practice as an artist, first as Ethel A.C. Harris and then as Lady Harris, when her husband was knighted in 1917. She principally worked as a medallist, exhibiting over seventy medals and medallions at the Royal Academy between 1901-22. John Roddam Spencer Stanhope (1829-1908) was an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. He was the uncle and teacher of artist Evelyn de Morgan (1855-1919).
Aloysius O'Kelly RHA (1853 - 1936) The Christening Party (1908) Oil on canvas, 68.6 x 91.4cm (27 x 36'') Signed and dated 1908 (lower right)Provenance: The Artist's family; With Gorry Gallery, Dublin 1981; Collection of the Hon. Francis D. Murnaghan Jr., thence by descentExhibition: Dublin, Gorry Gallery, February 1981, No. 13; Dublin, National Gallery of Ireland, The Irish Impressionists, 1984, No. 25.Literature: Niamh O’Sullivan, Gorry Gallery, An Exhibition and Sale of 18th - 21st Century Irish Paintings, 2024; O’Sullivan, Gorry Gallery, An Exhibition of 18th - 21st Century Irish Paintings & Sculpture, 2011; O’Sullivan, Aloysius O’Kelly: Art, Nation, Empire, Field Day, 2010; O’Sullivan Re-orientations: Aloysius O'Kelly: painting politics and popular culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999; Julian Campbell, The Irish Impressionists, National Gallery of Ireland,1984.In 1874, O’Kelly became one of the first Irish artists to study at the École des Beaux-Arts in Paris where he was admitted to the prestigious studio of Jean-Léon Gérome; separately he studied portraiture with Léon Bonnat; in addition, his early experiments in plein-air painting in Brittany were the foundations on which his work evolved.There is a striking stylistic cohesion between O’Kelly’s paintings set in Brittany in two phases, the late nineteenth century and the early decades of the twentieth century, but these converge in two almost identical paintings dated 1908 and 1909 called The Christening Party and L’auberge. By coincidence, both have come up for sale within a few months of each other. O’Kelly tended to date paintings destined for major exhibition venues such as the Royal Academy, the Royal Hibernian Academy and the Paris Salon. And indeed he did exhibit a painting in the Salon in 1909 called L’auberge. The Christening Party thus predates the all-but-identical L’auberge. One surmises that he intended this painting for the Salon, but found an early buyer, and so painted a second version for Paris the following year.The painting features a group of adults joyously holding their glasses of cider aloft. This version was given the title The Christening Party when it was exhibited in the Irish Impressionists exhibition in the National Gallery in 1984, although it not clear that it is indeed a christening, as the child must be about two-years of age, and the focus is more widely dispersed: the oval disposition is designed to lead the eye around the painting in an inclusive way.O’Kelly was the first Irish artist to discover Brittany in the 1870s and was influential in drawing other Irish artists such as Thomas Hovenden and Augustus Burke there. Moreover, in recognizing the historical, cultural and ethnic connections between Ireland and Brittany, O’Kelly was at pains to counter the negative stereotyping of marginalized people. The American critic, E.L. Wakeman noted that '[t]hrough the grime and slime of their hard cold lives a few things must stand luminously revealed …. the people of Ireland and those of Brittany are the closest of kin and from one common Celtic stock, the affection and family ties, and to neighbourhood and communal yearnings, find here universal expression to a degree that almost approaches pathos'. (Wakeman's Wanderings, Weekly Inter Ocean, 7 January 1890). Wakeman went on to cite their respective ‘love of and reverence for babies’, as shines through here. O’Kelly’s paintings of both Irish and Breton people insistently reflect a hard-working, healthy and dignified people, as projected here.O’Kelly moved around Brittany over more than a fifty-year period. From the distinctive clothes, the setting in this painting can be identified as the pays de Rosporden (around Concarneau and the Fôret de Fouesnant): the women wear white linen coiffes and wide collars, dark skirts, fitted bodices, embroidered waistcoats, and heavy wooden sabots; the men woollen jackets, waistcoats, bragoù-bras, black gaiters and felt broad-rimmed hats.The table and the rush-woven Breton chairs are timeless, but other aspects identify the painting as early twentieth century, notably the visible hair of the women (previously, no self-respecting girl would have herself painted with her hair even partially uncovered). Over time, O’Kelly’s Breton landscapes and seascapes became increasingly and iridescently impressionistic, while his interior scenes retained their structure and hark back to Dutch seventeenth-century interiors and, more contemporaneously, the work of American artist, Robert Wylie. Executed towards the end of the first decade of the twentieth century, the dark interior of The Christening Party, connects these paintings to a considerably earlier form of genre painting, characterized by academic draughtsmanship and conventional painting skills. Notwithstanding their archaism, the compression of so many figures in The Christening Party into such a confined space demanded considerable skill, in addition to which he countered the apparent informality of the figures by granting to each an individualised physiognomy. The loose yet controlled brushwork, broad values, and strong contrasts evident in the portraits are a testament to Bonnat's realist teaching.The treatment of the still life on the upper shelf verges on the semi abstract and contrast with the narrative details that include the man pouring the drink with his left hand on his companion's shoulder, the young girl wiping the bowl, the man lighting his pipe, the shadowy figure in the background squatting low to tap the cider.The painting is full of gesture and expression. Notwithstanding the dark interior, the play of light on form, on the bottles and glasses, on the rugged furniture, on the animated faces of the figures, is typical of O'Kelly, an artist who painted sometimes separately, sometimes coterminously tightly and precisely, and loosely and freely.Prof. Niamh O'Sullivan, October 2024 Condition Report: Very good overall condition Under UV inspection very minor florescence appears particularly in the figure, see images The frame with loss to the mid right as indicated in the catalogue image, other areas of the frame with cracking, splitting, evidence of old glue repairs and one section missing from the back of a piece of relief carving on the left hand side of the frame, see all images for further details
ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.
Putto mit Laute als Garten- oder ParkskulpturSteinguss. Vollplastische, dekorative Statue in der Tradition höfischer Rokoko-Skulpturen, der geschweifte Sockel mit floralem Relief. Ges.-H. 119 cm.A 19th/20th century German cast stone garden sculpture of a putto with lute.Deutsch. 19./20. Jh.
Leonard Baskin, American 1922–2000 - Isaac, 1958; bronze relief, signed with monogram and with gallery stamp and dated 'Kennedy Galleries Inc. N.Y. 1958', H59 x 49 x D1 Provenance: Laura Speiser; Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2135; Pyms Gallery, London, purchased from the above Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.211, illus. p.191 Note: other editions of this relief are in the collections of Krannert Art Museum and the Elvehjem Arts Centre at the University of Wisconsin. Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
Leonard Baskin, American 1922–2000 - Thistle (In memory of Louis Black), 1959; bronze relief, H21.5 x W44.5 x D0.3 cm Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, London Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.212, illus. p.161 Note: other editions of this bronze are held by Smith College Museum of Art, Northampton. Louis Black was a friend and collector of books, prints and drawings, usually relating to the human figure and natural environment. Jaffe suggested the subject of this work is derived from the engravings of Durer. Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
Leonard Baskin, American 1922–2000 - Continuity, 1967; bronze relief, signed and dated 'L. Baskin 67', H48.5 x W41 x D2.5 cm Provenance: Laura Speiser; Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2134; Pyms Gallery, London Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.214, illus. p.190 Note: Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
Leonard Baskin, American 1922–2000 - Dead Man, 1965; bronze relief, signed and dated 'Baskin 1965', H42.2 x W60 x D0.9 cm Provenance: Laura Speiser; Bonhams, New York, The Estate of Laura Speiser, 16th September 2010, lot 2057; Pyms Gallery, London Literature: Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.214 Note: Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.
2nd-3rd century A.D. Finely carved in hard white limestone; the facial features framed by swept-back locks of wavy hair enclosed by a loosely draped palla headdress held onto a low turban by a segmented diadem with high-relief ornament, with drop earrings at the sides; a necklace of graduated beads at the throat, soft fabric stola covering the chest and shoulders; the arched brows above large almond-shaped eyes with carefully worked pupils, small pert mouth with full lips, smooth cheeks and brow; unworked to the reverse; mounted on a custom-made stand. Cf. Michalowski, K., Palmyre, Fouilles Polonaises, 1960, Warszawa-Paris, 1962, fig.192; Muzeum Narodowe w Warszawie, Sztuka Palmyry (Art of Palmyra), Warszawa, 1986, pls.10,23; Fortin, M., Syrie, terre de civilisations, Québec, 1999, figs.336-337; Gabucci, A. (ed.), Zenobia, il sogno di una regina d'oriente, Milano, 2002, no.25 (for the typology of the portrait). 29.95 kg, 50 cm including stand (19 3/4 in.).[A video of this lot is available to view on Timeline Auctions Website]From a private UK collection, since at least 1971. Acquired from Rupert Wace Ancient Art Limited, Old Bond Street, London W1, UK, in 2001. From the private collection of Mr M.R. Davis, Bristol, UK. Accompanied by a copy of a stamped and signed Art Loss Register declaration dated 1st March 2001. Accompanied by a copy of a conservation report by restorer David Singleton dated 26th June 2001. Accompanied by a copy of the 23th February 2001 invoice (£34,000); a copy of the illustrated listing with reference number C230; plus communications regarding acquisition. 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 no.12339-224541.The sculpture is a good example of 2nd-3rd century A.D. Palmyrene female funerary portrait types. The amount of jewellery displayed in these portraits could be a direct reflection of the wealth of the family, and certainly reflected the jewellery possessed by the owner of the grave.
*** 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].
*** 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].
Dame Barbara Hepworth (British, 1903-1975)Miniature Divided Circle signed, numbered, dated and stamped with foundry mark 'Barbara Hepworth 1971 9/9 Morris/Singer/Foundry/London' (on the side of the base)bronze with a blue and polished patina on a bronze base21.8 cm. (8 1/2 in.) high (including the base)Footnotes:ProvenanceWith Gimpel Fils, London, where acquired by the family of the present ownerPrivate Collection, U.K.In 1967, in a letter to the artist Ben Nicholson, Barbara Hepworth wrote that 'so much depends, in sculpture, on what one wants to see through a hole! Maybe in a big work I want to see the sun or moon. In a smaller work I may want to lean in the hole ... It is the physical sensation of piercing and sight which I want.' (letter, 22 dec. 1967, TGA 8717.1.1.371) Miniature Divided Circle is a consummate example of Hepworth's later small, pierced works in bronze. The sculpture is made up of two semi-circular pierced forms, seemingly in dialogue with each other. Though placed at slightly differing angles on their plinth, with one marginally taller than the other, the two elements are united in their asymmetry. Two halves of a whole, balanced in their irregularity, divided by the chasm of negative space between them. Though empty, this space feels pregnant with connection, as though these shapes are like magnets being drawn towards each other.The semi-circle was a shape that Hepworth came back to again and again between 1969-72. A well-known example of this can be found in the large mural sculpture situated at the head offices of the Cheltenham & Gloucester Building Society in Cheltenham, titled Theme and Variation, 1970. In the present work, each semi-circular form is pierced by a rounded hole, on one side accompanied by a repeated, smaller semi-circular concavity, and the other surrounded by an oval. These interior spaces are dressed in a beautiful stippled blue patina, which contrasts strikingly with the brilliant gold of the polished surfaces surrounding them. Space is at the crux of this sculpture; through the relief of the concavities, which draw the viewers eye in and through; through the reflective surface of the polished elements, which adds yet another dimension to one's interaction with the work; and finally through viewing the work in the round. As is the case with many of Hepworth's sculpture, both small and large-scale, there is not one set viewpoint from which to view the work, each new angle offers up more to observe, more interactions to find between the two forms, between the positive and negative space, and between the viewer and the sculpture.Though Hepworth saw her smaller sculptures as complete works in themselves, (she insisted that her maquettes could not simply be scaled up and enlarged (Mullins, 1967, p.21)), Miniature Divided Circle is closely related to the monumental work Two Forms (Divided Circle). This reworking of a single idea or concept was common, particularly in her later work, as were small-scale sculptures, often made up of a number of elements such as this. However, as with differing materials, size also dictated the treatment and colour Hepworth chose for her works. In the present work, Hepworth has chosen to use this beautiful teal blue patina for the interior concavities, creating depth against the shining polished surfaces, which is so well-suited to these small-scale bronzes.By the conception of Miniature Divided Circle in 1971, Hepworth was already very familiar with working in bronze, which she began experimenting with 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 also 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.We are grateful to Dr Sophie Bowness for her assistance with the cataloguing apparatus for this work.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
Pair of composite stone tulip form garden urn-shaped jardinieres on stand and a small composite stone sculpture of an urn bearing flowers and fruits (3) Condition ReportThe pair of jardinieres are 56cm high and the urn with fruit and flowers is 29cm high. Jardinieres - both are weathered. Both are sitting loosely on top of their bases are are not firmly attached. Both have some very minor chipping to rims and wear overall. The urn decorated with fruit is also weathered, it has some minor chipping to relief carved decoration.
Ca. 1550 - 1070 BC. An amazing Egyptian stone head of a priestly figure with rounded features and a shaved head. The face consists of relief carved features, including almond shaped eyes, a small nose, and pursed lips. The ears, neck, and face are well defined with a polished surface. Sculptures of priests were crafted as votive offerings intended to be placed at temples or other places of worship. These figures symbolised the ongoing worship of the deity. For similar see: B.M. Bryan’s New Kingdom Sculpture, chapter 40, fig 40.2. and 40.15. Size: 60mm x 40mm; Weight: 145g Provenance: Private UK collection; Ex. M. H. collection, Kensington, acquired on the UK art market in the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
A GREENISH GREY STONE RELIEF DEPICTING DURGA MAHISASURAMARDINI, NEPAL, 18TH/19TH CENTURY of arched form, the multi-armed goddess with her feet on her vahana, the lion, and the decapitated body of the buffalo while she holds the demon which emerges from its body by the hair and stabbing him with her trident, wearing five-leaf crown and large disc earrings, the surrounding aureole with nine figures of the navadurgas, mounted, 21cmProvenance: The late Simon Digby (1932-2010)Published: Siudmak 2020, no.7In his catalogue, Siudmak notes that this piece bears a close affinity with a larger sculpture in situ in Patan, Nepal which he suggests may be the prototype for this smaller, portable version. See Nagar 1988, pl.76.
A RARE AND LARGE SANCAI-GLAZED MODEL OF A BACTRIAN CAMELTang Dynasty The animal powerfully modelled standing with its tall hair-lined neck reared back, the head raised and mouth open as if bellowing, exposing its teeth and prominent tongue, the straw-glazed body surmounted by a brilliant green, chestnut and straw-glazed saddle flanked by elaborate bags relief-moulded on each side by a large bulging pack modelled as large grimacing monster mask, the thick glaze running down the muscular legs, the camel covered predominantly in amber glaze. 81cm (31 3/4in) high. Footnotes:唐 三彩駱駝Provenance: T.T.Tsui (1941-2010), Hong KongChristie's New York, 20 March 1997, lot 59來源： 徐展堂（1941-2010），香港 紐約佳士得，1997年3月20日，拍品編號59Exhibited: Mandarin Oriental Presidential Suite, Munich, 2006-2008.展覽： 文化東方酒店總統套房，慕尼黑，2006-2008The result of Oxford Authentication Ltd. thermoluminescence test no.C114g27 dated 18 June 2014, is consistent with the dating of this lot.本拍品經牛津熱釋光檢測，編號C114g27（2014年6月18日），結果與其斷代相符The splendid figure of a camel would have been meticulously sculpted and extremely costly to produce at the time. It would have been commissioned for internment in a burial belonging to an elite member of the Tang society and deemed to become alive for the benefit of its owner. Ancestors in China were deemed active participants in the life of their living offspring, which they could positively influence if provided with continuous care. Miniature universes were thus presented in burials and filled with a variety of necessities disguised as painted, carved or moulded images, which were believed to function like their real counterpart if provided with the correct features; see J.Rawson, 'The Power of Images: The Model Universe of The First Emperor and Its Legacy,' Historical Research, 2002, vol.75, no.188, pp.123-54. Forming an analogical relation with daily forms, these figures embodied important social and ideological aspects of their own time.The Bactrian camel was imported into China from the areas of the Tarim Basin, eastern Turkestan and Mongolia. This species was highly regarded by the Tang emperors who established dedicated offices to oversee the Imperial camel herds; see E.Schloss, Ancient Chinese Ceramic Sculpture, Stamford, 1977, vol.2, p.220. The heavy load of pouches, ewers and animal meat, so vividly slung between the two humps of the exquisite camel by means of an elaborate structure composed of hinged slats of wood and poles, recalls the importance of foreign trade in Tang China. Referred to as the ships of the desert, camels endured hot temperatures and were the essential method of transport for merchants wishing to conduct trade with the oasis cities of Central Asia, such as Samarkand, Bukhara and Isfahan, along the trading routes of the Silk Road; see E.R.Krauer, The Camel's Load In Life & Death, Cambridge, 1998, pp.50-120.The animated attitude of this remarkable camel is reminiscent of the running camels vividly depicted on the walls of Crown Prince Zhuanghuai's tomb (d.684), excavated in Qianxian near Xi'an, Shaanxi Province, illustrated in Out of China's Earth: Archaeological Discoveries in People's Republic of China, Beijing, 1981, pl.258.Compare also with a large sancai camel, Tang dynasty, similarly modelled and with a saddle suspending mask-shaped sacks over a pleated cushion, in the Asian Art Museum, San Francisco, illustrated by W.Watson, The Arts of China to AD 900, Yale, 1995, p.231, fig.373. Another sancai camel, Tang dynasty, modelled in a similar posture as the present one, is included in the collection of the British Museum, illustrated in Silk Roads, London, 2024, pp.48-49.Compare with a similar sancai-glazed model of a Bactrian camel, Tang dynasty, which was sold at Bonhams London, 8 November 2018, lot 28.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
BERNARD MEADOWS (BRITISH 1915-2005) THREE SMALL RELIEFS: WATCHERS, 1966 (OPUS 86, BM 104) edition of 6, brass each relief: 28cm x 9.5cm (11in x 3 ¾in), overall: 38cm x 45.5cm (15in x 17 7/8in) Estate of the Artist;with Gimpel Fils, London. Exhibited:Gimpel Fils, London, Bernard Meadows: Recent Work, 25 April - 20 May 1967, cat. no. 13;New Art Centre, Roche Court, Shaping a Century: Works by Modern British Sculptors, 6 February - 27 March 2016;Gimpel Fils, London, Bernard Meadows, 9 June - 26 August 2016. Literature:Bernard Meadows: Recent Works, Gimpel Fils Exhibition Catalogue, London, 1967, pl. 14, illustrated;Bowness, Alan, Bernard Meadows: Sculpture & Drawings, Lund Humphries, London, 1995, p. 90, pl. 72, illustrated (b&w;).
ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014)Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty.This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief.Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision.This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition.Condition Report Disclaimer
Chris KIRCHER (1963 -). Fischskulptur. Relief.25 x 81 x 3 cm. Fischskulptur aus Stahlschrott geschweißt. Wetterfeste Skulptur mit schöner und gleichmäßiger Patina. Zustand siehe Fotos. Versand kann organisiert werden.Chris KIRCHER (1963 -). Fish sculpture. Relief. 25 x 81 x 3 cm. Fish sculpture welded from scrap steel. Weatherproof sculpture with beautiful and even patina. See photos for condition. Shipping can be organised.
§ 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 substantial c19th French cast bronze figural plaque sculpture or relief in the c17th style depicting a battle scene with a rider on horseback with a sword amongst soldiers on foot measuring 36 cm by 47 cm in a original black ebonised frame, indistinctly signed to top left hand side the condition is excellent with little sign of use or wear, the bronze has lovely patina and is of substantial weight, the bronze measures 36 cm by 47 cm, with outer frame measuring 57 cm by 68 cm, an attractive decorative piece
Große Steckschalenplastik: Flamingo mit Schale. Rosenthal. Marke Zweigwerk Bahnhof Selb, 1928. Monogrammiert. Modell-Nr.: 326. Entwurf: um 1927. OPPEL, Gustav (1891 Volkstedt - 1978 Berlin) Flamingo (H 36 cm), Schale (Ø 30,5 cm). Auf einem Rundsockel mit durchbrochenem Rand stehender, sich das Gefieder putzender Flamingo sowie eine runde Schale mit goldstaffiertem Blütenreliefrand. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 17:33 Uhr (CET) Large plug-in bowl sculpture: Flamingo with bowl. Rosenthal. Mark Zweigwerk Bahnhof Selb, 1928. monogrammed. Model no.: 326. design: around 1927. OPPEL, Gustav (1891 Volkstedt - 1978 Berlin) Flamingo (H 36 cm), bowl (Ø 30.5 cm). A flamingo preening its feathers standing on a round base with openwork rim and a round bowl with gold-decorated floral relief rim. Call time 25 | Oct. 2024 | presumably 17:33 (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.
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.
HENRY WILSON (1864-1934), W.E. MICKLEWRIGHT (MAKER) ARTS & CRAFTS 'ZODIAC' CHEST, CIRCA 1920 oak, with twelve relief carved Zodiac panels, each with inscription, cast brass lock plate 162cm wide, 84cm high, 60cm deep Provenance: W.E. Micklewright, Norton-sub-Hamdon, SomersetPurchased from his workshop by the father of the current owner. Literature: The Studio, vol. 86. 1923, p. 265 where a similar chest, exhibited at the British Institute of Industrial Art of the same year is illustrated.Note: The Arts & Crafts designer Henry Wilson trained initially as an architect under J. D. Sedding (1838-1891), who had himself been apprenticed to the leading Gothic revival architect George Edmund Street (1824-1881). Wilson continued his architectural commissions as his career progressed, but worked increasingly in metalwork, sculpture and jewellery. The Zodiac chest was illustrated in the Studio Magazine, Vol 86, 1923, and the relief carved panels are said to foreshadow the more sculptural bronzes Wilson designed in the final decade before his death in 1934.This chest was executed by W.E. Micklewright of Norton-sub-Hamdon, Somerset. Henry Wilson’s connection to the small village began in 1894 when he was engaged to design restoration work required for the parish church, St Mary the Virgin. Another chest by Micklewright still sits at the end of the church’s west aisle. The workshop responsible for completing Wilson’s church designs was Charles Trask & Sons, with whom Sedding and Wilson had collaborated from as early as 1869, on St Martin’s Church, Low Marple near Stockport. When Wilson first came to Norton-sub-Hamdon Micklewright was manager of the Charles Trask & Sons workshop, but by the 1920’s he owned and ran the premises. A surviving W. E. Micklewright catalogue illustrates items including the zodiac chest, a clock, cabinet and bed. According to the account of Mr Reg. Sweet, an apprentice in the workshop from 1923-25, the business employed at least eight craftsmen carrying out work predominantly in oak and of a religious nature. Sweet recalls Micklewright’s perfectionist tendencies but lack of business sense, the latter a factor presumably behind the workshop’s premature closure in 1925. The current lot was purchased at this time and, until now, has not left Norton-sub-Hamdon.
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
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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
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