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Lot 163
After: Auguste Rodin, French (1840 - 1917) Bronze Sculpture "The Hand of God" Signed and Numbered 5/25, Bronze Masters International, Gantz Foundry Lost Wax. Measures 6-3/8" x 8-1/2". Condition: Rubbing to base from display otherwise good condition Estimate: $750.00 - $850.00 Domestic Shipping: $78.00
Lot 615
A modernist bronze sculpture of a reclining nude couple, signed with initials, possibly EG, with mid-brown patination, 24¾in. (63cm.) long; together with a similar black painted terracotta sculpture by the same artist, unsigned, 20¼in. (51.5cm.) long. (2) *Condition: - Bronze: Good condition. Dusty, slight lighter rubbing to patination on edges. - Terracotta: Good condition, with just a few tiny rubs to paint to the female figure's face.
Lot 616
An Art Deco bronze style sculpture of a greyhound by Austin Products, the plaster sculpture after a design by Alexander Danel, depicting a recumbent greyhound with head raised, in a stylised Art Deco manner, with patinated finish, impressed mark and dated 1989, 12in. (30.5cm.) high. *Condition: Three paint chips to one front leg, small flaw to top of head. Otherwise VG.
Lot 73
A set of six French gilt bronze three light wall appliques in Louis XVI style, second quarter 20th century, to designs by Henry Dasson, the scalloped, fluted and beaded sockets and floral cast drip pans above conforming foliate cast and festooned scrolling branches, each with a backplate modelled as an arrow filled quiver and with ribbon tied finial, 55cm high, 30cm wide, 22cm protuberance A pair of similar wall lights signed and dated for Henry Dasson and dated 1890 was sold at Christie's London, 19th Century Furniture, Sculpture, Works of Art and Ceramics, 24 September 2008, lot 85 For a note about Dasson please see lot 60.Provenance: Property from a Private Collection.
Lot 713
†FREDERICK EDWARD MCWILLIAM, ARA (1909-1992) JOY THROUGH STRENGTH 1965 bronze, 17cm h, signed (MCW), the original artist's copy from which the edition of 5 was madeProvenance: Waddington Galleries Ltd, London where purchased by the late owner on 24 September 1966, (sold with copy invoice); thence by descent to the present vendors. Literature: Ferran (D) and V Holman, The Sculpture of F E McWilliam 2012, Catalogue No 303.
Lot 129
After August Karl Eduard Kiss, (German 1802 - 1865), a sculpted white marble group of an Amazon on horseback attacked by a panther, third quarter 19th century, portrayed as draped from the waist down, gripping the horse's mane with her left hand, the panther mauling the horse to its right shoulder; the naturalistically carved base with rockwork and foliage 80cm high, 95cm long CATALOGUE NOTES: The bronze original of this work, completed by Kiss in 1842, now graces the terrace at the entrance to the Altes Museum on Museum Island, in the Mitte borough of Berlin Reproductions in marble and also bronze have appeared at auction from time to time. Cf: Sotheby's London, European Sculpture & Works of Art 900-1900, 9th July 2002, lot 158 Sotheby's London, European Sculpture & Works of Art 900-1900, 16th April 2002, lot 218 Kunsthaus Lempertz, Auction 1030 - The Berlin Sale, 24th May 2014, lot 314 Grisebach GmbH, Germany, Auction 257: Orangerie Selected Objects, 2nd June 2016, lot 317
Lot 154
Adrien Étienne Gaudez, (French 1845 - 1902), Retour des Hirondelles, (Return of the Swallows), circa 1900, a patinated bronze model of a maiden, portrayed as standing and diaphanously draped, her head inclined to dexter, a billowing sash held up above her, with swallows alighting variously overall; the integrally cast base inscribed A.GAUDEZ in the maquette and with applied title plaque, 97cm high, 35cm wide CATALOGUE NOTES: Gaudez was born in Lyon on 2 February 1845 and went on to study under Francois Jouffroy at the Ecole des Beaux-Arts in Paris in 1862, making his debut at the Paris Salon in 1864. He worked almost exclusively in bronze and produced a wide array of sculpture, ranging from genre subjects to military and patriotic themes. His earlier work was mostly of a classical nature but in the latter part of his career he produced some pieces that can be categorized as Art Nouveau, such as the elegant and impressive model offered here
Lot 167
A pair of Continental patinated bronze models of men, called the good and the bad thief, after models attributed to Michelangelo, late 19th/early 20th century, the truncated bodies loosely modelled overall, one model portrayed with head inclined to sinister, the other to dexter, mounted on associated circular metal socles 27 and 26cm high overall respectively CATALOGUE NOTES: The model on the left was probably cast after a wax model of Gestas, the Impenitent thief, often credited to renowned Florentine sculptor Michelangelo. A sixteenth-century cast of this model is illustrated in W. Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CXXXIV, then in the collection of the Kaiser Friedrich Museum, Berlin. Though the model itself is sadly lost, several drawings by Michelangelo relating to crucifixion groups exist in museum collections. See for example British Museum 1860,0616.3, which shows one of the thieves in a similar pose.The extant drawings of this crucifixion group however, as well as the rare complete groups after Michelangelo with Christ and both thieves present (including, for example, a late 16th/early 17th century example at the Metropolitan Museum of Art, accession number 37.28a-d, and one in terracotta sold at Sotheby's London, 6 July 2006, lot 144) show that the second model in the present lot may not be as closely related to the same project. The slumped shoulders and bearded visage put this figure more in line with other works by the Renaissance master, including a terracotta torso in the collection of the British Museum (1859,0719.1), which was made in preparation for the unfinished marble sculpture of the Bearded Slave (commissioned for the tomb of Pope Julius II) now at the Accademia in Florence
Lot 169
Jean-Léon Gérôme, (French 1824 - 1904), la Joueuse de Boules, (the Ball Player), a gilt bronze model of a nude maiden, portrayed standing and looking downwards over her left shoulder, with inset semi-precious stone eyes, a ball held in each of her hands; the oval base cast with three grotesque male masks, all with inset semi-precious stone eyes, two of them each with a ball in the open mouths, the third with mouth agape; inscribed J.L.GEROME and stamped for the founders SIOT-PARIS in the maquette; Atop a shaped and waisted quatreform section striated onyx socle The bronze 53cm high; the height overall 63cm COMPARATIVE EXAMPLES: This model is apparently something of a rarity, and Gerome concentrated more on painting anyway, but similar models have appeared at auction. Cf: Sotheby's London, 19th and 20th Century Sculpture, 14th December 2016, lot 92 Sotheby's New York, Collections: European Decorative Arts, 9th June 2017, lot 152
Lot 175
Demétre H. Chiparus, (Romanian, 1886 - 1947), patinated bronze model of a boy on the beach, the boy portrayed nude and crouching, resting on his elbows, on a textured bronze plinth signed D. H. Chiparus and dated MCMXI, on a moulded rectangular green, likely verde antico marble base with plaque inscribed A NOCINO 14 cm high, 26 cm wide CATALOGUE NOTES: Romanian sculptor Demétre Chiparus spent most of his career in Paris, and is considered one of the most important sculptors of the Art Deco period. Known mostly for his highly stylised chryselephantine models of dancing and reclining maidens, this realistically modelled boy sheds light on the sculptor's earlier work. Dated 1911, the present model likely predates Chiparus' move to Paris and may have been made during his sojourn in Italy, where he studied with sculptor Raffaello Romanelli between 1909 - 1912. The interest in realism as well as classical poses (the crouching figure can for example be related to the famous Roman 'Dying Gaul'), shows the influence of Italian sculpture on Chiparus' work. Within a few years, this realism would give way to the elegant, elongated lines of Art Deco
Lot 181
λKarin Jonzen, (1914 - 1998), a patinated bronze model of a resting youth, edition of eight; the young man portrayed nude and with closed eyes, reclining on a stepped plinth, his head resting on his folded arms, the left leg outstretched 25 cm high, 42 cm wide including black slate base CATALOGUE NOTES: Sculptor Karin Jonzen was born in London to Swedish parents, and was educated at prestigious art academies including the Slade School of Fine Art and the Swedish Royal Academy. While over the course of the twentieth century sculpture started to veer towards abstraction, Jonzen remained loyal to and continued to develop her figurative style and her preferred subject of the human body. Characterised by their tactile and, as often noted by the artist herself, their 'natural' appearance, Jonzen's works portray an incredible sensitivity to and understanding of the human form.Jonzen was awarded the Prix de Rome in 1939 (according to a plaque on another version of Resting Youth, the present model was her winning entry), and the Feodora Gleichen Award in 1948. Several of her public sculptures still grace the streets of London, including a substantial figural bronze monument outside the Guildhall (Beyond Tomorrow, 1972). Another cast of the present model was sold at Bonhams, Modern Pictures, 13 July 2010 Related literature: Karin Jonzen, Karin Jonzen, Sculptor, Cambridge: Silent Books, 1994 λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 184
Charles Alexandre Malfray, (French 1887 - 1940), Baigneuse allongée, a sculpted terracotta model of a reclining maiden, portrayed as supporting her head behind with her raised right arm, inscribed MALFRAY beneath, mounted on a stepped rectangular black marble socle 22cm high, 52cm long overall PROVENANCE: Gifted by Malfray to a fellow artist and close friend, the grandfather of a recent vendor in 2018 CATALOGUE NOTES: For versions of this model in bronze, cf Guillaume le Floc'h, Paris, Vente de prestige: Tableaux, sculptures, verrerie, céramique, meubles et objets d‘art, 6th October 2013, lot 104; Also Thierry de Maigret, Paris, Tableaux modernes - art déco, 20th March 2013, lot 76 Malfray also produced very similar variants of this work which differed in certain details: Cf Artcurial, Paris, Art Moderne, 3rd November 2009, lot 353 -Born the son of an Orléans stonemason Malfray was a student of the École des Beaux-Arts d'Orléans. At seventeen, he attended the School of Decorative Arts in Paris and the École nationale supérieure des Beaux-Arts. He however rejected the academic teaching of the college and became attracted by the art of the Montmartre-based Auguste Rodin and Antoine Bourdelle Malfray survived the First World War after being gassed and taking part in the Battle of Verdun, but was deeply affected by his experiences. Together with his brother, he created war memorials to the dead of Pithiviers (1920) and Orleans (1924), whose modernism was highly debated. In 1920 he was awarded the Prix Blumenthal, but ruined by the work and ill as a result of the war, he almost gave up sculpture However, in 1931, his friend Aristide Maillol appointed him his successor as professor at the Académie Ranson in Paris. During the following years, Malfray had many students in his workshop, including Étienne Martin, François Stahly, Nessa Cohen, and Jean Le Moal
Lot 192
λStephen Cohn, (Anglo-German 1931 - 2012), Flying Head, a patinated bronze abstract form, mounted on a rectangular bronze pedestal 52cm high, 20cm wide PROVENANCE: Purchased from an exhibition of Cohn's work at the Anderson Gallery, Broadway, Worcestershire in July 1993 CATALOGUE NOTES: Stephen Cohn was born in Frankfurt-am-Main in 1931, coming to England in 1933 with his parents. On leaving school he served in the Royal Artillery and then studied sculpture, first at Hammersmith School of Art and later at the Royal College of Art He went on to teach, and also wrote and lectured in Fine Art. His working life was divided between sculpture, painting, printmaking, and writing λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 197
Claudio Parigi, (Italian b.1954), Venere con Telefono Cellulare, patinated bronze, mounted on a rectangular stained wood base, inscribed and dated 2013 to the underside The bronze 19cm long, the overall dimensions 8.5cm high, 22cm long CATALOGUE NOTE: Italian sculptor Claudio Parigi lives and works in Florence, and is greatly influenced by the Renaissance heritage of his city. Parigi's sculptures are characterised by the juxtaposition of classically inspired nudes with modern themes and attributes. The present sculpture for example shows the female figure in a traditional Venusian pose, (Titian's Urbino Venus being an obvious example), but the mobile 'phone in the left hand jerks the viewer back into the 21st century Parigi's work is held by the collection of the Museo dei Bozzetti di Pietrasanta and several international private collections, and his sculptures as well as his art historical theories have been featured in Italian publications including the newspaper La Nazione
Lot 22
A pair of Venetian bronze candlesticks, second half 16th century, the sockets cast as three handled urns with swagged grotesques, above acanthus cast drip pans, on domed bases relief cast with further grotesque masks and festoons 12cm high, 14cm diameter COMPARATIVE LITERATURE: Cf. W. Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CXXIV for a similar candlestick held at London's Victoria & Albert Museum, and another at the Bargello in Florence Also Irene Martin (Ed.), The Thyssen-Bornemisza Collection, Renaissance and Later Sculpture, Sotheby's Publications, 1992, p176, fig.2, a pair cited from the Frick Collection, New York and identified as workshop of Gaspare Macri, Brescia, mid 16th century
Lot 27
After Barthélemy Prieur, (French, circa 1536-1611), a bronze model of Cupid, 17th / 18th century, portrayed standing, leaning forward and taking aim with his bow, his quiver to his right side; on a cylindrical quartz plinth with square section marmo nero Belgio socle The bronze 10.5cm high, the height overall 16.25cm Cf: Christie's London, Important European Furniture, Sculpture & Clocks, 9th July 2009, lot 51, a similar example
Lot 30
A north Italian bronze model of a dragon, probably Florentine or Venetian, later 17th century, the head twisting to dexter with jaws agape, the tail coiling down behind, on a later, square section white marble plinth, with dove grey marble socle 18cm high, 22cm wide CATALOGUE NOTES: Whilst seemingly unusual as subject matter, models of dragons were not uncommonly cast in 17th century Italy because of their occurrence in Classical mythology. For example Gianfrancesco Susini (1585 - circa 1653) created models in bronze of the famed dragon Ladon after a model by Pietro Tacca (1577 - 1640), Ladon having featured in the eleventh Labour of Hercules as guardian of the golden apples in the Garden of the Hesperides Cf. Sotheby's New York, Important Old Master Paintings and Sculpture, Property from the Abbott Guggenheim Collection, 27th January 2011, lot 427 Far more similar to the current example is a 17th century Italian fragmentary bronze dragon, offered at Sotheby's London, A Venetian Legacy - An Italian Private Collection, 5th December 2017, lot 540
Lot 5
A Roman bronze bust of a woman, circa mid 2nd century A.D., cast with centrally parted hair 14.5cm high Atop a modern metal base, the height overall 19cm PROVENANCE: Purchased from Rupert Wace Ancient Art Limited, London, 19th June 2003 COMPARATIVE LITERATURE: C.C. Vermeule, Greek and Roman Sculpture in America, London 1981, p.336, no. 289, and colour plate 26, 'Bust of a Lady, perhaps Lucilla or Crispa'
Lot 341
‡ Mary Spencer Watson (1913-2006) Thought, 1928 a cire perdue bronze cast by John Galizia at the Central School of Arts & Crafts circa 1934-35 after the original sculpted in plasticine by Mary Spencer Watson in 1928, unsigned, 21cm. high Literature Annette Ratuszniak Mary Spencer Watson Sculpture 11th September-4th December 2004 Salisbury & South Wiltshire Museum, page 76 catalogue number 1. This bust was, by repute, the first piece modelled by Mary Spencer Watson at the age of fourteen. Exhibited Mansard Gallery (heal's) 1937 Sculpture in Britain Between the Wars, Fine Art Society 1986, curated by Peyton Skipwith, page 145, catalogue no.103. Provenance Fine Art Society. Private collection. Woolley and Wallis Auctioneers would like to thank Peyton Skipwith and Annette Ratuszniak for their help in cataloguing this lot.
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17079 item(s)/page