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Click here to subscribeMary Milner Dickens, Le Hammamet - maquette for large bronze wall sculpture, Autumn 1978, cast steel, mounted on board, signed and titled verso, 68.5 x 76.5cm.Read more on Mary Milner Dickens, Prix de Rome, M.F.A., A.R.C.A. (1932-2019) at https://www.gildings.co.uk/news-item/mary-milner-dickens/?pc=63
JENNINE PARKER (BRITISH CONTEMPORARY) 'ELEVATION', a limited edition bronze sculpture depicting a dancer and two hoops 9/195, impressed initials with certificate, height approximately 48cm including granite plinth (condition: the dancers foot has come loose from the plinth causing scratches to the plinth, the hoops are still attached to the plinth) (A)
For your consideration is this abstract modern bronze sculpture of an egret, or other type of wading bird. The long legged bird is depicted, foot to bill, in one continuous swirl of ribbon. At the top is a crescent shaped head with long beak and slit for an eye. The sculpture stands in the center of a round bronze base which is affixed to a round wood plinth. The bronze is signed at the base but is illegible. The piece is in very good condition; it measures about 23"T x 6 1/2" W.
TWO 19TH CENTURY BRONZE SCULPTURES, together with A BRONZE INKWELL. (3)The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Tallest sculpture approx. 27cm high, 14cm wide; Smaller figure approx. 23cm high, 9cm wide; Inkwell approx. 11.5cm high, 15.5cm wide
A Japanese bronze figure of Prince Shotoku, holding a temple incense burner by Ishikawa Mitsuaki (1852 - 1913), seal mark, inscribed wood box. Ishikawa Mitsuaki studied Kano School painting and sculpture under his father, a wood carver who worked for the Shogunate. He created various carved interior decorations at the Imperial Palace, and received many prizes in international and domestic exhibitions with works in ivory and wood. He was hired by the Tokyo Fine Arts School in 1890, and was appointed Imperial Artist the same year. His Kannon Bosatsu wooden relief, exhibited in the 1900 Paris International Exhibition are two of his finest pieces, both receiving prizes. He remained a professor of the Tokyo Fine Arts School until his death in 1913.
Louis-Ernest Barrius (French, 1841-1905): A gilt bronze figure of 'Nature Revealing herself to Science,'the semi-nude figure with downcast gaze clad in a draped robe on rectangular shallow plinth base signed E.Barrius and with Susse Freres foundry mark and pastille stamp, 24cm highFootnotes:Barrias began his artistic training as a painter but moved on to study sculpture under P. J. Cavalier. He partook in the sculptural decoration of the Paris Opéra, executing a marble statue of Virgil (1865).Numerous editions of La Nature exist, Barrias's most popular design. The first example was a large-scale version, admitted to the Salon in 1893. Examples can now be found in bronze and marble in various heights (97, 73, 58, 43, and 24cm) and tones.For further information on this lot please visit Bonhams.com
Medieval Bronze Corpus Christi Figurine. Circa 15th century AD. Copper-alloy, 32.07 grams. 66.24 mm. A beautifully sculptured bronze figure of Christ on the cross, with his bearded head turned down and to the right. He is wearing a loincloth, his knees are slightly bent with pins holes through the hands and feet. Ref: Warren, Jeremy, Vol 1 Medieval and Renaissance Sculpture in the Ashmolean Museum (Oxford: Ashmolean Museum Publications, 2014), pp. 42 - 43 no. 4. Property of an Essex collector.
Medieval Face Mount. Circa 13th-14th century AD. Copper-alloy, 3.54 grams. 18.43 mm. A stunning piece of medieval sculpture depicting a male bust wearing a head covering. A possible representation Saint Benedict of the highest quality made in heavily tinned or silver plated bronze. It is unclear from the reverse of the piece exactly what it was part of, the only clue is a semi-circular opening at the top and bottom that suggests it had a shaft running through it to attach it to a lower section. Possibly a full figure or an attachment for decoration, the original use of this piece must have been of some importance and certainly a piece of high status. Ref: for comparison see. St Wolfgang Altar, St Wolfgang church, Austria. From the collection of a retired detectorist.
Medieval Figural Bronze.Circa 12th - 14th century AD. Bronze, 1.7 kg. 165mm x 80mm x 40mm. A large piece of medieval sculpture depicting a naked female figure reclining on an arch with acanthus leaf and front scroll. The figure is very similar to many images of mermaids seen in wood and stone carvings of the same period although the piece we have here shows no obvious sign of a tail. The surviving piece was once part of a much larger sculpture or furnishing of a church such as a large candle stick. If the latter, then its likely to be a casualty of the reformation under Henry VIII. This lead to churches and cathedrals being stripped of their wealth and most of the Catholic works of art destroyed. A Derbyshire metal detecting find. Ref: for similar styles see: Molesworth, 1951. Sculpture In England (Medieval). Property of a detectorist.
DOUG HYDE (BRITISH 1972) 'BOX OF LOVE' a limited edition box set 64/495 containing four limited edition prints, a bronze sculpture on a marble plinth and a book, height of sculpture is 13cm, prints and book are still shrink wrapped, (condition:- sculpture has patination fault to the back of the head, some paint missing from packing crate) (A)
Artist: Isidore Jules Bonheur [imputee] (1827-1901). Title: "Taureau". Medium: Bronze sculpture. Date: Composed c1878?. Lot Note(s): Signed "I. Bonheur" on the sculpture. Fine, quality casting. Very good condition; the polished marble plinth in good condition with the expected wear and small losses to the edges. Comment(s): Dimensions: height 13 1/2" x width 16 3/4" x depth 7 3/4". Bonheur is best known as one of the 19th century's most distinguished French animalier sculptors. [27903-12-1600]
Artist: Leon Bertaux [imputee] (French, 1825-1909). Title: "Jeune fille au bain - Sara la baigneuse". Medium: Bronze sculpture. Date: Composed c1876. Lot Note(s): Signed "Mme Leon Bertaux" on the sculpture, near the feet. Fine, quality casting. Very good condition; the polished marble plinth in good condition with the expected wear and small losses to the edges. Literature/catalogue raisonne: Anne Pingeot - Antoinette Le Normand-Romain - Laure de Margerie, Musée d'Orsay. Summary illustrated catalog of sculptures, Paris, 1986. Comment(s): Dimensions: height 10 3/8" x width 11 1/8" x depth 7 1/4". Helene Bertaux, born Josephine Charlotte Helen Pilate (better known as Madame Leon Bertaux, or simply Leon Bertaux) was a sculptor and woman's rights activist in the second half of 19th Century. Married but separated from her first husband, she began to sign her works, in 1854, under the name "Madame Leon Bertaux," the name of her companion whom she married in 1866, after the death of her first husband in 1865. [27902-12-2400]
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Cup and Saucer II [medium version]". Medium: Color offset lithograph. Date: Composed 1977. Printed 1989. Dimensions: Overall size: 38 3/8 x 25 1/2 in. (975 x 648 mm).Lot Note(s): Signed in pencil, lower right. Edition c1,000. Heavy, smooth, light cream wove paper. Full margins. Fine impression. Fine contition. Literature/catalogue raisonne: Unknown to Doering/Von der Osten. Comment(s): A scarce poster. ‘Gordon’s Art Reference’ lists only two sales in this size. According to ‘Gordon’s’ the last sale of a signed impression was $500 at Treadway Toomey Auctions (20th Century Art & Design), 03/08/14, lot #759. For the exhibition ‘Roy Lichtenstein: Bronze Sculpture 1976-1989’ at the Sixty-Five Thompson Street gallery, New York City, held May 19 to July 1, 1989. Image copyright © Estate of Roy Lichtenstein. [28954-6-225]
After David Cornell FRSA, FRSBS (b.1935), The Lester Piggot Commemorative Bronze 'Champion Finish', from a limited edition of 7500, signed and titled to base, with certificate of authenticity, 20cm high, with a limited edition bronze patinated sculpture modelled as two racehorses and jockeys, indistinctly signed, dated '84' and numbered '224/500' to base, 22.5cm high, and a bronze patinated sculpture modelled as 'Ballyregan Bob, The World's Fastest Greyhound', indistinctly signed, 24cm high (3)
Barry Flanagan, R.A. (British, 1941-2009)Acrobats 1988 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5 bronze303.8 by 88.9 by 69.9 cm.119 5/8 by 35 by 27 1/2 in.This work was executed in 1988, and is from an edition of five numbered versions and 3 artist's casts.Footnotes:ProvenanceJohn Berggruen Gallery, San FranciscoAcquired directly from the above by the present owner in 1992ExhibitedLondon, Waddington Galleries and The Economist Plaza, 1990, p. 19, no. 8, another example illustrated in colour New York, The Pace Gallery, Barry Flanagan, 1990, np., no. 8, another example illustrated in colourBerlin, Haus am Waldsee, Animalia: Stellvertreter, 1990, p. 50, another example illustrated in colourFréjus, Musée Temporaire, Foundation Daniel Templon: La Sculpture Contemporaine après 1970, 1991, p. 89, another example illustrated in colourNew York, Paul Kasmin Gallery, Barry Flanagan: Sculptures, 2004, another example exhibitedLiteratureRichard Dorment, 'First catch your hare' in: The Daily Telegraph, 29 May 1990, another example illustratedTowering at nearly 10 feet tall, Barry Flanagan's Acrobats is undoubtably one of the late Welsh artist's most significant works. First appearing in 1979, the figure of the hare dominated Flanagan's practice ever since, and is represented in institutional collections and beloved public sculptures around the world. When asked about this particular choice of subject, Flanagan stated: 'I find that the hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world. So I use the hare as a surrogate or as a vehicle to entertain in a way. The abstract realm that sculpture somehow demands is a very awkward way to work, so I abstract myself from the human figure, choosing the hare to behave as a human occasionally.' (the artist in: Barry Flanagan: Sculpture 1965-2005, exh. cat., Irish Museum of Modern Art, Dublin, 2006, p. 65)In the 1970s, Flanagan moved away from his earlier conceptual work towards a more figurative practice. He started modelling the human form and a range of different animals in bronze, but the motif of the hare is really the one that stuck in the collective mind and came to symbolise his practice. Allegedly inspired by both a hare he watched hopping happily across the English countryside in the late 1970s, and by George Ewart Evans' book The Leaping Hare published in 1972, Flanagan first represented the animal in his now-seminal work Leaping Hare from 1979. A study of the hare's significance around the world in folklore, poetry, mythology and art throughout history, George Ewart Evans' delightfully light-hearted book fuelled Flanagan's interest for the remainder of his artistic practice. The subject of the present work, two anthropomorphised hares balanced on top of each other, first appeared in a smaller format in 1981 which was shown in the very first exhibition of Flanagan's bronzes at Waddington Galleries in London that same year. A resounding success, the exhibition of Flanagan's sculptures truly propelled his career, and he represented Britain at the Venice Biennale in 1982.Flanagan's most iconic sculptures, of which Acrobats is a quintessential example, all succeed in conveying a sense of movement and physical tension whilst remaining wonderfully playful. One can't help but smile at the comical representation of humanlike hares engaging in sporting activities, such as boxing or acrobatics, which unlocks childhood memories of absolute freedom and whimsy. As author Paul Levy puts it, 'nothing is more free, vital, spontaneous and alive – from Aesop's hare outrun by the tortoise to Bugs Bunny – than a capering hare. In France and most of Central Europe, it is the hare that lays eggs at Easter and so promises renewal. In fact, Flanagan's hares do not carry much of this historic symbolic freight; they simply frolic freely and expressively. They don't symbolise life, they live it.' (Paul Levy, Barry Flanagan: Linear Sculptures in Bronze and Stone Carvings, exh. cat., Waddington Galleries, London, 2004)The present work was acquired over 25 years ago by prominent American collector and philanthropist Gerard L. Cafesjian, and remained in his Estate's collection until now. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Upon his retirement, Mr. Cafesjian committed his time to art and charity, as he founded the Cafesijan Family Foundation to support mostly Armenian causes. He founded the Scottsdale Museum of Contemporary Art in Arizona in 1999, and, in the early 2000s, he set his sights on an enormous, unfinished and crumbling Soviet structure in Armenia's capital city as the site for a private museum. The building's ambitious renovation and expansion resulted in the creation of the Cafesjian Center for the Arts, which, upon its inauguration in 2009, was touted by the New York Times as being a modern-day 'Hanging Gardens of Armenia' and is best known for its world-class sculpture garden.This lot is subject to the following lot symbols: * AR TP* 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.TP Lots denoted with a 'TP' 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
λ Francesco Marino Di Teana (Italian/Argentinian 1920-2012)Untitled (Abstract)Bronze with a silver patinaStamped with signature and dated '59 Height: 61cm (24 in.)Provenance:From the Collection of the late Ian Mylles, East SussexCondition Report: In overall good condition. Some wear to the edges of the sculpture. There are some dents/marks to the surface but these appear original to the work. Please see extra images.Condition Report Disclaimer
λ Philomena Davidson (British b. 1949)The ModelBronze mounted on slate base 73.5 x 39.5 x 21.5cm (28 7/8 x 15 1/2 x 8 1/2in.)Together with a metal stand 66cm high (26in.)Provenance:Private Collection, Mr Alan Angas Thorman,purchased directly from the artist in 1971 This lot was the first bronze ever made by the artist. After graduating from City & Guilds Art School Davidson went on to the Royal Academy Schools in Piccadilly where she won the Gold Medal for sculpture 1973. In 1990, Davidson was elected as the first woman President of The Royal Society of British Sculptors now retitled as the Royal Society of Sculptors
NIGEL HALL (B 1943) - BRONZE SCULPTURE a small abstract bronze sculpture titled Extension Intention, with a wooden plinth and plaque dating it to 1996. Sculpture 11.5cms high, 19.5cms high overall *Nigel Hall is an English Sculptor who works in a variety of mediums including wood, steel, bronze and aluminium. He is represented in many public collections and has exhibited widely, and has undertaken many private and public commissions. This was made in 1996 for the Prudential Awards, it was cast in an edition of 8 and was originally titled Intention Extension. My thanks to Mr Hall for his help in finding this information.
JUGINDER LAMBA - CARVED WOODEN SCULPTURE 'WOMEN WITH CAT' a large sculpture carved in Rowan (Mountain Ash) in 1985, the female figure bent over and cradling the head of a Cat between her feet and with a circular base. Also with a carved scupture of Dancer, also in Rowan (67cms high, 1985), and a reclining figure of a lady also made in Rowan (51cms high, 1986). Woman with Cat signed, JL, 1985. 50cms high. (3) *Women with Cat and the Dancer are both illustrated in a book Sculptures, Juginder Lamba, 1986, this book comes with this lot. Lamba was born in Nairobi in 1948, after moving to India at the age of 10 he then moved to England in 1962. He works in various materials including bronze and stone as well as wood.
SEAN RICE (1931-1997); a monumental bronze and copper sculpture, 'Ancient Figure', on polished black slate base, signed to back of neck, height approx 102cm. (D) Footnote: This and the following six lots were produced by Sean Rice, one of Liverpool's foremost modern artists working in the city throughout the latter 20th century along with Arthur Dooley. He studied Fine Art at the Royal Academy School in London between 1951 and 1953 and was also a lecturer in sculpture at Liverpool School of Art. He set up a bronze casting studio in the grounds of his home near Everton's Goodison Park football ground and also ran a gallery near the Pier Head and Liver Buildings that operated throughout the 1980s and 1990s. The scale of these figures is unusual and we are very familiar with his work having sold the studio contents of the artist several years ago. The sculptural form and use of mixed materials combined with equally highly polished and raw aspects result in dramatic and appealing works.Additional InformationA few knocks to the extremities but overall in good order. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
JOHN MULVEY (born 1939); a polished bronze sculpture, 'Ram', signed with initials, dated 1973, no. 2/5, further detailed on a plaque to the rouge marble base, length of base 35.5cm, height 33cm. (D)Additional InformationThe bronze has been polished. There are a couple of tiny chips to the corners of the base but presented in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
GILLIE & MARC; a contemporary bronze limited edition sculpture, 'The Hippo Just Wanted an Apple and Ice Cream', signed and numbered 3/25 to plinth base, complete with Certificate of Authenticity, height 31cm. Additional InformationThe base is slightly misshapen, scratches and scuffs to the base.
WILLIAM NEWTON; a bronze sculpture of a jockey on horseback, impressed signature, dated '04 and numbered 1/7 to base, height 40cm, length including wooden plinth base 57cm. (D)Additional InformationMinimal wear, light scratches, scuffs but overall presented in good order. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
SEAN RICE (1931-1997); a very large bronze and copper sculpture, 'Bearded Figure holding a Staff', on polished black slate base apparently unsigned, height 73cm. (D) Additional InformationBasically in good order. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DOUG HYDE (Born 1972); limited edition bronze sculpture, ‘The Smile’, No.87/495, raised on granite base, height 27cm. (D) Additional InformationGood overall condition, minimal wear. There is no CoA or box with this lot. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
SEAN RICE (1931-1997); a very large bronze and copper sculpture, 'Bearded Figure', on polished black slate base, signed to back of neck, height 75cm. (D)Additional InformationBasically in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
SEAN RICE (1931-1997); a bronze and copper sculpture, 'Figures with Flowing Hair', on polished black slate rectangular base, apparently unsigned, height 58cm, length 72cm. (D)Additional InformationBasically in god condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
SEAN RICE (1931-1997); a large bronze and copper sculpture, 'Winged Horse and Figure', raised on polished black slate base, apparently unsigned, height 64cm. (D)Additional InformationBasically in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A LARGE BRONZE EQUESTRIAN GROUP OF LE CHEVALIER BAYARD BY BARON CARLO MAROCHETTI (ITALIAN 1805-1867) depicting the medieval knight Pierre Terrail, seated on a horseback, with his eyes cast down and with a solemn expression, praying, the naturalistic base with foundry mark 'Susse Freres' 95.5cm high, 74.5cm long Catalogue Note Pierre Terrail, siegneur de Bayard (c.1476-1524) was a French knight at the transition between the Middle Ages and the Renaissance and he is generally known as the Chevalier de Bayard. He was famous for his bravery during the Italian wars and died on the battlefield at Sesia. Since his death he has been commonly referred to as 'le chevalier sans peur et sans reproches' or 'the knight without fear of reproach'. For another example of this sculpture see the Albany Institute of History & Art, acc. no. 1955.137. Baron Carlo Marochetti (1805-1867) was an Italian born French sculptor born in Turin. He was a student of Francois-Joseph Bosio and studied in both Paris and Rome. Some of his most famous works include the marble relief of the Battle of Jemappes on the Arc de Triomphe and his equestrian model of Richard the Lionheart, first exhibited at the entrance of the Crystal Palace in 1851 and now found at the Palace of Westminster. The equestrian monument of Emanuele Filiberto, was a gift to the city of Turin and in recognition of this, Marochetti was made a Baron of the Kingdom of Sardinia by Carlo Alberto, King of Sardinia (1798-1849).
DOUG HYDE (BRITISH 1972) 'THE BOX OF LOVE' a limited edition box set containing a bronze sculpture 109/500, four prints 109/495 and a hardback book, prints and book are still shrink wrapped, sculpture height approximately 13cm including granite plinth (condition:- the patination of the bronze is badly damaged) (A)
Robert Mermet (French 1896-1988), a bronze bust of a racing driver, mid 20th Century,faintly signed 'RobMermet' under left shoulder, patinated 'cire perdue' cast bronze sculpture of a race driver in peaked helmet with goggles, 17.5cm high, loose mounted on a stepped base. This lot is subject to the following lot symbols: Ω ARΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A BRONZE SCULPTURE OF JUAN MANUEL FANGIO IN THE JAGUAR C-TYPE, BY GARY SMITH (BRITISH 1961-),one of two known examples specially commissioned from the sculptor, signed 'Gary' under the rear, cast bronze, depicting Fangio at speed in the C-Type Chassis 'XKC 018', 35cm long, mounted to a black marble base with title plaque to front edge and with glass detailing water splashes to front wheels, 43cm long overall. For further information on this lot please visit Bonhams.com
Gregory Percival (British 1964-), 'Endeavour', a bronze sculpture in tribute to Battle of Britain pilot Squadron Leader Geoffrey Wellum DFC,produced circa 2014, 'lost wax' cast bronze sculpture from the artist's 'Knight of the Sky' sculpture series, depicting Wellum in the cockpit section of his MkIIa Spitfire in flight, the fuselage bearing his Squadron Code 'Q J', limited edition signed by the sculptor to inside of fuselage and numbered 004 of 025 examples, measuring 30cm long, mounted to a bronze stem above a stepped slate display base also signed by the sculptor, 40cm high overall. 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
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![Artist: Isidore Jules Bonheur [imputee] (1827-1901). Title: "Taureau". Medium: Bronze sculpture. Date: Composed c1878?. Lot N](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/0f6c59c9-c559-4a45-b3f9-ac4e0182b72a/468x382.jpg)
![Artist: Leon Bertaux [imputee] (French, 1825-1909). Title: "Jeune fille au bain - Sara la baigneuse". Medium: Bronze sculptur](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/24a448b8-5c7f-490b-9851-ac4f0013ea28/468x382.jpg)
![Artist: Roy Lichtenstein (American, 1923-1997). Title: "Cup and Saucer II [medium version]". Medium: Color offset lithograph.](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/ab9ebcd4-e90b-4247-937e-ac4f01588e52/468x382.jpg)
