POSSIBLY THE CIRCLE OF GERMAIN PILON (1535-1590) AND/OR BARTHÉLEMY PRIEUR (BERZIEUX 1540-1611, traditionally depicted, previously mounted (Dimensions: 17.5cm high)(17.5cm high)Footnote: Note: Pilon is famed for his allegorical figures in marble and bronze: first for the Tomb of King Francis I in the Abbey of St Denis, Paris; then, in 1559, the Monument for the heart of King Henri II, with a group of the Three Graces, the epitome of French Mannerist figure-sculpture; and, finally, the Tomb of King Henri II, again in St. Denis. Prieur was a French follower as court sculptor of Pilon, working in stone and marble: he specialised in casting bronze statuettes in commercial series. Characteristic of Prieur’s many statuettes of young women – usually secular, nearly nude, classical nymphs – is the profile of the face such as is used here for the Virgin Mary: a high forehead, sloping back in an almost Grecian continuous line from a small nose, with a receding hairline, while small pursed lips appear above a daintily receding chin. Close too is the coiffure, where a plait of hair is wound round the crown of the head in a neat circle. This group is not dissimilar from a figure of the Virgin alone (sometimes paired with a St John the Evangelist from under a Crucifix), of which three examples are known, and one of which was given to the Metropolitan Museum of Art, New York, after a sale at Sotheby’s in 1996. Similarities between that figure and the present statuette in style, dress (especially the drapery on their backs) and physiognomy support a tentative attribution to the circle of practitioners around the two sculptors, though its treatment is not as refined as theirs normally is.
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Large and Very Impressive Bronze Sculpture of Napoleon Bonaparte on Horseback by Louis-Marie Morise (Moris) 1818-1883, this superbly detailed gilded bronze figure shows the famous French emperor and national hero sitting on his trusted steed Marengo. The emperor is in his famous dress with his headdress, cloak, sword and holding his telescope. The saddle and his saddle bags have been left in bronze with the borders and decorations been gilded to add to the effect. The horse and all the accoutrements including the bridle are of superior quality. To the base of the bronze is the signature “Morise” and the foundry seal is struck "BRONZE GARANTI AU TITRE. PARIS." Stands 65cms tall, 62 ½ cms wide approximately, weighs 25kgs. A truly superb quality item.
Ludwig Habich (1872-1949) Bronze Figure of a Wurttemberg Uhlan Charging, finely detailed bronze sculpture figure of an Imperial German mounted Uhlan holding his lance and the horse at the gallop. The sculpture is finely detailed with uniform and headdress clearly having the insignia showing. Signed to the base “L HABICH”. Mounted onto a large wooden mount base which has a brass plaque to the front with Royal Monogram of King Charles 1 of Wurttemberg and “Zur Erinnerung an das a lte Regiment April 1919”. The figure, including the base, stands 60cms tall, 41cms wide approximately, weighs 11.3 kgs.
A Japanese bronze sculpture, Meiji period, modelled as Amida Buddha, after The Great Daibutsu Buddha at Kotokin Temple, Kamakura, the robed figure seated serenely with hands together in his lap and legs crossed, incised two character mark to base and later numbered '290934 0392', 13.5 by 11 by 14.5cm high.
After Jean-Antoine Houdon, (French 1741 - 1828), Le Baiser Donné and Le Baiser Rendu, a pair of patinated bronze bust groups of kissing couples; one a maiden and a young man, the other a nymph and a satyr; each atop a tapering square section and flower festooned plinth, 21 and 20cm high respectively A similar pair of bronzes is held at the Wallace Collection in London, and in their Catalogue of Sculpture JG Mann discusses the attribution to Houdon. Certainly an example in terracotta was sold in the sale of Houdon's property in 1795, and much later a pair in marble inscribed Houdon fecit 1778 and 1780 were sold at the Muhlbacher sale in 1889, but Houdon's signature was apparently easily and regularly faked. Other seemingly autograph works by the great sculptor have appeared from time to time, including an example in marble that was offered to and rejected by the Louvre in 1843; and another in marble that went unsold at Christie's London in 1922 Provenance: The Property of a Lady Another pair of bronze reductions of these models is held at the Royal Palace, Stockhom Cf, JG Mann, Wallace Collection Catalogues, Sculpture, Spottiswoode Ballantyne Ltd, London, 1981, catalogue numbers S217 and S218, pp 79 and 80
After Aristide Maillol (French, 1861-1944), "Femme au Crabe"-1930, cast bronze, double monogrammed to top of base "M". Later casting after the sculpture by French sculptor Aristide Maillol, depicting a nude woman, with hair upswept into bun, the woman crouching with her arms between her legs, attempting to catch a crab as it scurries through the sand below. Overall Dimensions: 6 x 5.5 x 5 in.
PAIR OF FINE ORMOLU AND MARBLE MOUNTED BRULE PARFUMS, ALMOST CERTAINLY BY PAUL-CHARLES SORMANI, in Neoclassical style, third quarter 19th century, each with a shallow domed dove-grey marble cover with berried finial, above an openwork collar cast with anthemia in oval reserves, the dished dove-grey marble bodies with cavetto shoulders, each mounted with three seated term maidens holding trumpets to their lips and rising from scrolled acanthus leaves; on reeded stems rising from the backs of sejant gryphons, on triform bases, atop triform marmo breccia Siena bases, each with three bun feet, 48.5cm high, 22cm wide Note: This pair of perfume burners are based upon a model in Sevres porcelain and gilt bronze attributed to Pierre-Phillipe Thomire and now in the Louvre (inv. OA 5505). The model of the horn players is similar to that of the flute players on Madame du Barry's porphyry vase, which is also in the Louvre. Paul Sormani (1817-1877) was one of the most important Parisian cabinet makers of the second half of the 19th century. He commenced business at 7 Cimetière Saint-Nicolas and in 1847 moved to 114 rue du Temple. By 1867 when he opened at 10 rue Charlot, he was at the pinacle of his sucess. A contemporary source describes his work in glowing terms, 'toute sa production révèle une qualité d'exécution de tout premier ordre' Sormani first showed his work at the 1849 Paris exhibition where he was awarded a bronze medal and again at the International Exhibition in 1855, when he obtained a first class medal. He travelled to London in 1862, where he gained another award and at the Paris exhibtion of 1867 special mention was made of his petits meubles de fantaisie. This fine pair of brûle parfums are a good example of the range of smaller objects and bibelots he produced. the business was taken over by his widow after his death in 1877 For similar examples see Christie's London, 24th February 2005, 19th Century Furniture, Sculpture, Works of Art and Ceramics, lot 33 Also Sotheby's London, M & N Uzal, 19th Century Excellence, 28th October 2009, lot 48 Also Sotheby's New York, Collections: European Decorative Arts, 13th-14th April 2016, lot 586
Early to Mid 20th Century Superb Quality Patinated Bronze Sculpture of a Male Figure Walking on a Cobbled Street. The Sculpture of Fine Detail and Wonderful Patina. Signed Carola. Height 8 Inches - 20 cm. Note - Wonderful Detailed Sculpture of the Highest Quality - Please Confirm with Photo.
Antonio Canova ( After ) 1757 - 1822 Superb Quality Fine Art Patinated Fine Art Bronze Sculpture - Titled ' Hercules and Lichas ' Raised on a Marble Base, After the Marble of Antonio Canova. Signed Canova to Base. c.Mid - Late 19th Century. Low Estimate for This Quality. This Bronze Sculpture - Early Casting Is Very Finely Detailed - Superb Quality - Please Confirm with Photos. Condition Is Excellent In All Aspects. Wonderful Patina. Piece of Marble Missing From Base. Figure Only 16.5 Inches - 41.5 cm Tall. Figure with Marble Base 19 Inches - 47.5 cm Tall.
Edouard Drouot 1859 - 1945 French Late 19th Century Signed Large and Impressive Dark Brown Patina Bronze Figural Group. c.1890 - 1900. Titled ' Spring ' Signed E. Drouot. Raised on a Black and White Round Marble Base, The Sculpture Stands 41 Inches - 102.5 cm Tall. All Aspects of Condition Is Wonderful. Please Confirm with Photo.
Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination conceived in 1934/1935 signed to the base Leon. U. numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2". Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the slade school of fine art and the Royal College of art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the brook green school of art in Hammersmith, amongst his many students, he taught Henry Moore and Barbara Hepworth, Moore who later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including bronzes of west Africa which were a great influence to him in later years cycladic and African culture designs. Provenance - Mirfield theological college of the church of the England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper. The intelligent weekly press on 7th October 201. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.
BRONZE SCULPTURE BY TIENIE PRITCHARD OF ADRIAAN BOSHOFF - SOUTH AFRICAN INTEREST by Tienie Pritchard, a bronze sculpture of an artist seated, with a painting on an easel. Mounted on a circular marble base. Bronze signed, Adriaan Boshoff, Tienie Pritchard, 74. 23cms high overall *This appears to be a sculpture of Adriaan Boshoff (1935-2007), a well known South African artist. Tienie Pritchard (b 1938) is one of the most prominent South African sculptors who became well known for his large bronze monuments.
BRONZE SCULPTURE OF AN ACROBAT after Carl Johan Bonnesen (Danish Sculptor), the Art Deco style bronze figure balanced on her hands with feet over her head. With a square bronze base and mounted on a block of onyx. Bears signature, CJB, Paris, April 1904. 28cms high overall, Figure 18cms high
§ John B. Martin (British Contemporary) KILLIAN AND THE WOODWORM MAN Bronze sculpture (Dimensions: 47cm (18.5in) high)(47cm (18.5in) high)Footnote: Note: This sculpture represents an interpretation of the David and Goliath story with hero and villain reversed, so Killian, the small aggressive antagonist defeats Woodworm man, a gentle giant.
Sally Arnup FRBS, ARCA (1930-2015) ''Seated Bloodhound'' Signed and numbered V/X, bronze, 54cm high Since prehistoric times, dogs have been depicted on the walls of caves, in Roman mosaics and ceramics and the ancient Egyptians celebrated Anubis - the god of the dead who watched over the dead and celebrated their fate in the underworld. Also in Homer's Odyssey, Odysseus' dog Argos was the only one to recognise him upon his return after 20 years away. Dogs symbolise loyalty, fidelity, guidance, protection, alertness and love. Therefore, unsurprisingly when we contacted Hannah (Sally's daughter) to ask if there was any particular reason why there were so many dogs in the collection her answer was that: ''We always had pets and animals around and it often dominated our lives. We had over the years: dogs, sometimes a cat (reluctantly), monkey, guinea pigs, rabbits, chickens, geese, ducks, peacocks, guinea fowl (noisy beasts), a ram, owls, foxes, fish and a snake. They were a constant part of our lives, as I remember, it was not uncommon for us to start the day with digging for 20 worms ...to feed the frogs, toads and newts. But dogs were her passion and were so important to her and therefore her work. Virtually all the dog bronzes were commissioned from adoring owners, many of whom became lifelong friends (both dog and owner).'' Hannah reminisces of the bloodhound: ''Her name was Trinket. She was an incredible character and of determined nature. I remember her with mixed emotions as she devoured in one swallow the freshly baked Swiss Roll that I was most proudly presenting to the family for a summer afternoon tea. My father commented that he had never seen me so angry!'' Trinket portrays Sally's ability to not only perfectly render the animal's appearance, but to convey the stoic, droopy, noble features of the creature. Her insistence on working directly from her subject and her ability to control her medium allowed Sally to explore and depict the hound's coat and features. She had the ability to convey the humour in the relationship between man and beast. Even at art college Sally was sure of her subject from the outset, much to the envy of many of her contemporaries. On the completion of HRH The Duke of Edinburgh's Fell Pony 'Storm', commissioned for His Royal Highness's 80th Birthday, he stated: ''It is no mean achievement to be able to convey the character, and characteristics, of individual animals in bronze. Sally Arnup has a wealth of experience in the sculpture of animals, and she also has the talent to capture their personality.''
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