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Lot 6
A bronze sculpture of Horatio Viscount Nelson K.B Duke of Bronte, Vice Admiral of the White, circa 1895, approx 71 cms. Nelson is depicted standing in his naval regalia and tricorn hat on a plinth of ships beneath the waves, the base of the plinth is incised with the battles Nelson in which he distinguished himself including The Battle of the Nile, The Battle of Copenhagen, Battle of Trafalgar and the Battle of St Vincent. Footnote: Henry Mansell Furse was born in Egham, Surrey in 1860. He is noted for his relatively short production period due to an illness which led him to being an invalid for the last forty years of his life. Furse studied under Herkomer before attending the Slade School. He worked at the British Museum from 1881 to 1887, after which he produced many sculptures. Provenance: This bronze has been removed from The Nelson, a public house in Broadstairs, when it closed its doors in 2014. It became a pub in the mid 19th century when brewer Richard Tomson bought it, Tomson was keen to commemorate the heroes of the French wars and the fact that Nelson's corpse was on the deck of Victory when she dropped anchor in Viking bay on her return from the Battle of Trafalgar and thus named the pub The Nelson where this sculpture has stood in pride of place. -
Lot 294
LIU BOLIN (Né en 1973) September 11 Sculpture en bronze peint Signée, titrée, datée et numérotée sur 8 exemplaires à la base (le nôtre 3/8). Hauteur : 47 cm – Largeur : 12 cm environ (Légers accidents sur la peinture, vendu en l’état). Ces sculptures sont la réaction de l'artiste aux attentats du 11 septembre 2001.
Lot 293
Annora Spence (British, b. 1963) - Horse and Flower - a print on paper. Edition no. 280/295. Signed and titles in pencil on margin. Framed. Measures approx. 39 x 52cm (15 1/4" x 20 1/2"). Annora Spence, (British, b 1963) initially studied printed textiles at Liverpool Polytechnic and the artist continued her education in the 1980s, by completing a master's degree in the same subject at Birmingham Polytechnic. Having completed her studies Spence worked as an independent artist and designer. Since 1990, she has concentrated on her career as a painter and has enjoyed multiple sell-out shows in London and overseas, having a large following abroad including North America and Asia. In 1994 she started producing limited edition Silkscreen prints and each new edition invariably completely 'sold out' within record time. Annora also went on to create etchings and even a bronze sculpture. Annora derives many of the ideas for her work from her extensive travels across Europe, India and Asia and is inspired by the characters, situations and colours she sees around her. Her palette varies from the rich, to pale and subtle, creating layers of tone and texture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 11
Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.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
Lot 47
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Anyanwu inscribed 'ANYANWU/BY/BEN ENWONWU' (plaque)gilt bronze 91 x 28 x 14cm (35 13/16 x 11 x 5 7/8in) (excluding base).109 x 28 x 19.5cm (42 15/16 x 11 x 7 11/16in) (including base).Footnotes:ProvenanceThe collection of Dr Cecil and Mrs Jean Symons;Christie's Auction House, London, 2007;A private collection. LiteratureS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), (version illustrated) fig.4.3 and fig.4.4.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), (version illustrated), p. 423.O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), (version illustrated), p. 57.'Anyanwu, which is the Onitsha Emotan of Benin'. Meaning 'eye of the sun', referring to the Igbo practice of saluting the sun as it rises to honour the Great Spirit ChiUkwu, a supreme being in Igbo spirituality, Anyanwu stands as one of Ben Enwonwu's most famous and credited works. The figure's noble bearing is underlined by her headdress and coral jewellery: the royal regalia of the Bini people. 'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors.' (Enwonwu quoted in S. Ogbechie, p. 129-130.)The circumstances surrounding Anyanwu's creation – Enwonwu's spiritual inspiration – connects him with the Igbo tradition of the artist as spirit medium. Personified into the image of the Igbo earth goddess Ani, Anyanwu is a demonstration of divine feminine power. Viewing women as the pillars that uphold society, the female subject has held a prominent position throughout Enwonwu's oeuvre. The Igbo concept of nkais an 'invocation of ancestral spirits through giving concrete form or body to them' as Enwonwu himself said and has indeed practised in this case. (Ben Enwonwu quoted in Nkiru Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', (1999), p.168.)Often elongating their features in his paintings, such as in the Tutu series, Enwonwu embraces the Igbo traditions of image making. While his tendencies to elongate facial and body features was sometimes motivated by aesthetic experimentation, Anyanwu's form came to him in a vision early one morning as he awoke from sleeping:'A supple graceful female form arising out of the sun in a brilliant shower of light...she loomed towards him in a wide curvilinear arch...the classic Ethiopianized features of the face and the decorative horizontal slats of the lower torso that receded into the horizon, tapering off to a point...'The original Anyanwu sculpture was commissioned in 1953 for the National Museum in Lagos, where it still stands to this day. It received such acclaim that another was commissioned for the United Nations headquarters in New York in 1966. This version appears in several major public and private collections, often demonstrating a variety of patina, and small differences in the arms and length of the coiffure. The current work was cast in 1987 at the Burleighfeild foundry in High Wycombe, a foundry that cast many bronze sculptures for the artist from their founding in 1977 until his death in 1994. The present work differs from earlier casts given its fine gold layer; gilded versions came later in Enwonwu's more developed casts. BibliographyS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp, 128-131.N. Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', Contemporary Textures: Multidimensionality in Nigerian Art, ed. N. Nzegwu (New York, 1999), p. 163.Letter correspondence between Benedict Chukwukadibia Enwonwu and Mrs Jean Symons, (27th January 1986).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
Lot 179
Glynn Williams (British, born 1939)Mother and Child signed with initials, numbered and stamped with foundry mark 'GW 2/7' (to leg)bronze with a brown patina24.5cm (9 5/8in) high Conceived in 1991Footnotes:ExhibitedLondon, Bernard Jacobson Gallery, Glynn Williams, 1991, no. 5 (another cast)Margam, Sculpture at Margam, Glynn Williams Retrospective, 1992 (another cast)LiteratureG. Hughes, Glyn Hughes on Glynn Williams, Bernard Jacobson Gallery, London, 1992, no. 27, illustrated (another cast)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
Lot 186
Peter King (British, 1929-1958)Standing Figure signed 'P KING' (to base)bronze with a dark brown patina and nail31.5cm (12 3/8in) highUniqueFootnotes:ProvenanceWith Gallery One, where acquired byPrivate CollectionWith England & Co., London, from whom acquired byPrivate Collection, U.K. With The Court Gallery, Somerset, where acquired by the present owner, circa 2010Private Collection, U.K.ExhibitedLondon, Gallery One, First Exhibition of Sculpture by Peter King, December-January 1954, no.11This 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
Lot 25
Sir Jacob Epstein (British, 1880-1959)Second Portrait of Euphemia Lamb (half-length) bronze with a green patina52.5cm (20 11/16in) highConceived in 1911Footnotes:ProvenanceSale; Christie's, London, 6 November 1992, lot 34, where acquired byJ.C. Horwood, from whom acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLondon, National Portrait Society, 1914, no. 86 (catalogue not traced)London, The Leicester Galleries, An Exhibition of Sculpture and Drawings from 1900 to 1932 by Sir Jacob Epstein (1880-1959), 17 June-17 July 1971, no. 17 (another cast) (as Euphemia (First bust))LiteratureB. Van Dieren, Epstein, John Lane, 1920, pl. XVII, illustrated (another cast)A. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, Heinemann, 1931, p. 168 (another cast)R. Black, The Art of Jacob Epstein, World Publishing Company, New York and Cleveland, 1942, no. 21, pl. 82, illustrated (another cast)R. Buckle, Jacob Epstein Sculptor, Faber & Faber, 1963, p. 52, pl. 74, illustrated (plaster cast), (as First Bust of Euphemia)E. Silber, The Sculpture of Epstein with a Complete Catalogue, Phaidon, Oxford, 1986, pp. 128-129, no. 33, illustrated (another cast)The present lot shows Euphemia with a geometrically angular bow, which is noted by Silber as being specific to casts one and two, as opposed to cast three, which has a more naturalistic bow.Annie (Nina) Euphemia Forrest, referred to by her first husband Henry Lamb as 'Euphemia', posed as a model for numerous artists of the early 20th Century, including Henry Lamb, Augustus John, James Dickson Innes, and Jacob Epstein, amongst others. This bust was executed at a time when Epstein was focused on accuracy. The Artist is quoted as describing how he 'worked with great care, and followed the forms of the model by quarter inches ... not letting up on any detail of construction of plane; but always keeping the final composition in view'. (J. Epstein, Let There Be Sculpture, An Autobiography, Michael Joseph Ltd, London, 1940, p. 56)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
Lot 13
A Chinese gilt bronze censer and cover, late Ming Dynasty. Xuande mark, with elephant mask handles, the body with dragons amongst clouds in high relief, with pierced cover and scroll feet, height 15.5cm, width 19cm, depth 15.5cm.The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie. No damages. Weight of censer body 1702 grams. Weight of cover 318 grams.
Lot 124
Lorenzo Quinn (b.1966) 'With you', bronze resin sculpture of hands, on a metal and marble base, signed and numbered 862/999 near the base of the hands, 40cm high overall x 26cm wide x 18cm This piece does not come with a certificate of authenticity. Overall display wear, some marks and scratches. When this piece was brought into us, the vendor stated that it has previously undergone professional restoration, but it is incredibly difficult to see/photograph and does not affect the overall appearance of this piece.
Lot 235
Pierre-Jules Mene (1810-1879, after): 'Valet de chasse Louis XV et sa harde', patinated bronze on a black marble base, 20th C.H 70 - L 73 - D 47 cm (incl. the stand) The original sculpture was commissioned by Napoleon III in 1869. The model was exhibited at the Paris Salon in 1870 (later in the Musee du Louvre), at the World Exhibition in Vienna in 1873 and at the World Exhibition in Paris in 1900. A later cast.
Lot 394
French school: Two busts after the antique, a.o. Homer, patinated bronze on a black marble base, foundry mark 'F. Barbedienne fondeur', 19th C.H 28,7 - 26,5 cm (incl. the base) Both sculptures marked 'Reduction mecanique A. Collas brevete'.One sculpture inscribed with the number '14' and one with the number '95'. Provenance: - Ex-collection H. Luppens, Brussels, Belgium. - Private collection, Belgium.
Lot 32
Barry Stein (American, 20th/21st c). Bronze sculpture titled "Descending Monarch" depicting an elk walking along a rocky outcropping, 2000. Edition 1/25. Signed, numbered, and editioned along the base of the bronze. With a certificate of authenticity.Height: 16 1/2 in x width: 15 in x depth: 11 in.Condition:The bronze has no major chips, losses, or cracks. Dust accrued in recessed areas. Wear to base underside.
Lot 34
After Sirio Tofanari (Italian, 1886-1969). Large cast bronze panther sculpture. Depicting the snarling big cat sitting and looking downwards. Incised signature along the base. Brown and verdigris patination throughout.Provenance: Private Minnesota CollectionLot Essay:Sirio Tofanari was born into a family of sculptors and artists. He attended the Florence Academy of Art from 1902-1907. At the age of 18 he fell in love and eloped to Paris before moving to London. While there he devoted himself to the study of animals, visiting the zoo and Natural History Museum often. Throughout the first two decades of the 20th century he exhibited his work around Europe including the 1909 Venice Biennale.Sadly, his home, studio, and its contents in Milan were destroyed during an Allied bombing raid in 1942 during World War II. He spent much of the remainder of his life creating reliefs of religious scenes, but animals remained ever in his focus.Height: 24 in x width: 14 1/2 in x depth: 24 1/2 in.Condition:There are no major dents, breaks, losses, or restorations. Wear and weathering throughout and signs of exposure to the elements. Verdigris patination throughout. Some accretions along the lower areas of the sculpture. Some dirt/dust collected in the recessed areas of the work. Dirt/dust collected along the underside and interior of the work.
Lot 31
Barry Stein (American, 20th/21st c). Bronze sculpture titlled "Pride of AFrica" depicting the head of an elephant with its trunk raised, 2004. Edition 1/300. Signed, dated, and editioned along the base of the bronze. With a certificate of authenticity.Height: 13 in x width: 8 1/2 in x depth: 9 1/2 in.Condition:The bronze has no major chips, losses, or cracks. Dust accrued in recessed areas. Wear to base underside.
Lot 30
Barry Stein (American, 20th/21st c). Bronze sculpture titled "Racing the Wind" depicting a galloping horse, 2002. Incised signature, date, and numbered 1/35 along the base of the bronze. With a certificate of authenticity.Height: 27 in x width: 32 in x depth: 15 in.Condition:The bronze has no major chips, losses, or cracks. Dust accrued in recessed areas. Wear to base underside.
Lot 33
Loet Vanderveen (Dutch, 1921-2015). Bronze camel sculpture. Incised signature and numbered 37/250 along the camel's belly. The camel elegantly kneels down, one leg extended and the neck arched gracefully upwards.Height: 8 in x width: 2 1/2 in x depth: 9 1/2 in.Condition:There are no bends, breaks, losses, or signs of restoration. There are areas of high polish, throughout, in particular along the tail and ears. There are two minute scuffs along one side across the high points of the stomach and shoulder. There are minute scratches throughout. There is wear along the feet as expected from age and use.
Lot 322
signed in Cyrillic ‘Lep. E. Naps’ (on the base of the bronze)bronze, casting, patina, white marble baseH. 22 cm, base 40 ? 25 cm19th centuryThis sculpture was made after the famous painting by Viktor Vasnetsov ‘A Vityaz at the crossroads’, inspired by the Russian bylina ‘Ilya Muromets and the Thieves’.
Lot 18
▲Jean Phillipe RichardDraped female bronze signed Richard and dated ’02 and numbered III/IV together with indistinct foundry stamp on stone base 190cm high overall, the bronze 172cm highJean-Philippe Richard is a French sculptor, born in Paris in 1947 and has been working as a sculptor for over 3 decades. A self-taught artist, Jean-Philippe Richard sculpts without relying on a model, this allows him to sculpt freely and even get away from the restrictions of reality. This artist is an accomplished technician whose first bronze pieces were cast in an artisan foundry that he created in the Provencal village where he has been living since mid-70s. Garden Ornament, Garden Statue, Sculpture
Lot 485
AFTER THE ANTIQUE, A LARGE PATINATED PLASTER FIGURE OF EPHEBE OF MARATHON 20TH CENTURY Black painted 'bronzed' surface with detailed eyes 131cm high, the base 35 x 33.5cm This figure of Ephebe, sometimes called " Marathon Boy", is a Greek bronze sculpture found in the Aegean Sea in the bay of Marathon in 1925. The figure dates to around 340-330 BC and is now held in the collections of the National Archaeological Museum of Athens.
Lot 445
WORKSHOP OF ANTONIO FRILLI, A CARVED ALABASTER FIGURE OF NAPOLEON ITALIAN, LATE 19TH CENTURY Depicted full length, hands behind his back, signed to reverse A Frilli Firenze 91cm high, base 25cm wide Established in 1860 by Antonio Filli- the workshop of Frilli is still in production in Florence. Antonio's work is recorded as an exhibitor at the Espozione Nazionale di Roma in 1883, Glasgow in 1888 and Paris in 1889. He and his studio specialised in replicas of classical and portrait sculpture- as well as more 'modern' orientalist figures in marble, alabaster, and bronze. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with darker natural inclusions to the stone- the signature and eyeballs with later darker tinting- some surface marks, small scuffs and abrasions Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 370
A bronze sculpture copy after that which surmounts his tomb in the Medici Mausoleum, Florence. Raised on a slate mantel clock plinth base.58.5cm high (including base). 38cm hight (excluding base).Qty: 1In generally good condition. Some light rubbing to the patina on the extremities such as the knees and the crest of his helmet.
Lot 643
A BRONZE FRANKLIN MINT SCULPTURE 'GUARDIANS OF THE WORLD' CRYSTAL BALL, by Steven Lord, a central crystal ball is suspended by animals from around the world, to include a lion, elephant, otter, dolphin, gorilla, eagle, bear, etc. height 38cm (1) (Condition Report: a little dusty, a few of Eagles wing tips are bent, elephants tusks are bent Verdigris in some places)
Lot 832
DEHOF, GERD (1924 - 1989), "Jüngling", 20. Jh., vollplastische Bronze, am Gewandsaum monogrammiert und datiert (19)78, auf Holzsockel. H: Figur ca. 95 cm, Gesamthöhe (mit Sockel): 110 cm. Alters- und Beriebspuren. PROVENIENZ: Süddeutscher Privatbesitz. ANMERKUNG: Dehof war Mitbegründer der Freien Akademie Mannheim, aus der die Werkkunstschule und spätere Fachhochschule für Gestaltung hervorging. Ab 1957 war er mit der Leitung der Bildhauerklasse an der Freien Akademie Mannheim betraut.| DEHOF, GERD (1924 - 1989), "Jüngling", 20th century, fully sculpted bronze, monogrammed and dated (19)78 on the hem of the garment, on a wooden plinth. Total height (with plinth): 110 cm. Signs of age and rubbing. PROVENANCE: South German private collection. NOTE: Dehof was a co-founder of the Freie Akademie Mannheim, from which the Werkkunstschule and later the Fachhochschule für Gestaltung emerged. From 1957, he was in charge of the sculpture class at the Freie Akademie Mannheim.
Lot 504
Musikalische Automatenbüste einer äthiopischen Lyra-Spielerin von Gustave Vichy, um 1890Mit Pappmaché-Kopf, offenem lächelndem Mund, braunen Glasaugen mit beweglichen Lidern, schwarzer Original-Mohairperücke und einem einzelnen halbmondförmigen Ohrring, auf ebonisiertem Sockel mit Melodienzettel und geprägter Metallplakette: "G. Vichy, Paris, 5 Articles Français, Marque Deposé, Modele Deposé", der Torso mit Federwerkmotor und Walzenspielwerk für 2 Melodien, in goldfarbenem Seidenkostüm mit Metallstickerei, Kopfschmuck und Dekor mit Original-Münzen, Höhe 51 cm einschließlich Kopfschmuck, mit eichelförmigem Stopp/Start-Hebel und modernem Schlüssel, Oberfläche der Vorderseite restauriert, guter funktionierender und spielender Zustand. - Dies ist Teil einer Serie von Vichy-Automaten, die an die polychrom bemalten Bronzebüsten französischer Künstler wie Émile Guillemin und Charles Cordier erinnern. Der Eindruck einer bewegenden Skulptur wird durch die anmutige Modellierung des Gesichts und der Hände sowie durch den schlanken Sockel in Anlehnung an die Bronzebüsten noch verstärkt. Von der Wahl des Themas über den Stil des Kostüms bis hin zum Instrument, das sie spielt, wurde der Automat von der Faszination des 19. Jahrhunderts für Exotik beeinflußt, die afrikanische Kulturen aus der europäischen Perspektive darstellte. - Die Musikerin dreht und neigt ihren Kopf sanft nach links und rechts, blinzelt und scheint das Instrument mit einer Zupfbewegung des rechten Arms zu spielen. - Dieses Exemplar wurde von David Secrett und Margaret Glover liebevoll restauriert. - Literatur: Q. David Bowers, "Encyclopedia of Automatic Musical Instruments", S. 80, für ein identisches Stück, einen von mehreren französischen Automaten im Katalog des Händlers Gustav Uhlig aus Halle, Sachsen. Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 4400 Zustand: (2/2)Musical Automaton Bust of an Ethiopian Lyre-Player by Gustave Vichy, c. 1890With papier-mâché head, open smiling mouth, brown glass eyes with articulated lids, original black mohair wig and a single crescent earring, on ebonized plinth with tune-sheet and metal plaque stamped: "G. Vichy, Paris, 5 Articles Français, Marque Deposé, Modele Deposé", the torso containing going-barrel motor and two-air cylinder movement, in gold silk costume with metallic embroidery, headdress and the original coin decoration, ht. 20 in. (51 cm) including headdress, with acorn-form stop / start and modern key, surface of face restored, good working and playing condition. - Note: Part of a series of Vichy automata reminiscent of the polychrome-painted bronze busts by French artists such as Émile Guillemin and Charles Cordier. The impression of an animated sculpture is heightened by the graceful modelling of the face and hands and the slender plinth base in imitation of its bronze counterparts. From the choice of subject, to the style of costume and the instrument she plays, the automaton was influenced by a 19th century fascination with 'exoticism' that reflected African cultures through a European lens. - The musician turns and gently bows her head to the left and right, blinks and appears to play the instrument with a lifting and plucking motion of the right arm. - This example has been sympathetically restored by David Secrett and Margaret Glover. - Literature: Q. David Bowers, Encyclopedia of Automatic Musical Instruments, p. 80, for an identical piece, one of several French automata in the catalog of retailer Gustav Uhlig of Halle, Saxony. Watch and Listen on:Youtube.com/AuctionTeamBreker Start Price: EUR 4400 Condition: (2/2)
Lot 837
BILDHAUER DES XX JAHRHUNDERTS "Weiblicher Akt" vollplastische Bronzeskulptur, auf Plinthe mit Prägestempel bez. "Strassacker Kunstguss Süssen", auf Oberseite der Plinthe num. 2/5, H: ca. 40,5 cm (mit Plinthe). Altersspuren.Provenienz: Aus der Sammlung Prof. Dr. Helge Bathelt (1948-2023), Leiter der Volkshochschule und der städtischen Galerie Herrenberg und Vorsitzender der Europäischen Kulturgemeinschaft e.V. | SCULPTUR OF THE 20TH CENTURY "female nude", full-bodied bronze sculpture, inscribed "Strassacker Kunstguss Süssen" on plinth with embossed stamp, numbered 2/5 on top of the plinth, h: approx. 40.5 cm (with plinth). Traces of age. Provenance: From the collection of Prof. Dr. Bathelt (1948-2023), director of the Volkshochschule and the municipal gallery Herrenberg and chairman of the Europäische Kulturgemeinschaft e.V.
Lot 833
FUCHS, ERNST (1930-2015), "Papagena", vollplastische Bronzeskulptur auf einem Holzsockel, seitlich signiert "Ernst Fuchs" und nummeriert 4011/7500, H: ca. 16 cm (mit Sockel). Altersspuren.Provenienz: Aus der Sammlung Prof. Dr. Helge Bathelt (1948-2023), Leiter der Volkshochschule und der städtischen Galerie Herrenberg und Vorsitzender der Europäischen Kulturgemeinschaft e.V,| FUCHS, ERNST (1930-2015), "Papagena", full-bodied bronze sculpture on a wooden plinth, signed "Ernst Fuchs" and numbered 4011/7500 on the side, h: approx. 16 cm (with plinth). Traces of age. Provenance: From the collection of Prof. Dr. Bathelt (1948-2023), director of the Volkshochschule and the municipal gallery Herrenberg and chairman of the Europäische Kulturgemeinschaft e.V.
Lot 834
ZHENG, B.C. (Chinesischer Bildhauer des 20. Jh.), "Weiblicher Akt", vollplastische Bronzeskulptur auf Sockel, signiert "B.C. Zheng", H: ca. 24,5 cm (mit Sockel). Altersspuren.Provenienz: Aus der Sammlung Prof. Dr. Helge Bathelt (1948-2023), Leiter der Volkshochschule und der städtischen Galerie Herrenberg und Vorsitzender der Europäischen Kulturgemeinschaft e.V.| ZHENG, B.C. (chinese sculptor of the 20th century), "female nude", full-bodied bronze sculpture on plith, signed "B.C. Zheng", h: approx. 24,5 cm (with plinth). Traces of age.Provenance: From the collection of Prof. Dr. Bathelt (1948-2023), director of the Volkshochschule and the municipal gallery Herrenberg and chairman of the Europäische Kulturgemeinschaft e.V.
Lot 2014
Franklin Mint bronzed metal model of a lion, after Antoine-Louis Barye, together with another sculpture of two rutting stags, possibly after Pierre Jules Mene, both with stands(2)Condition Report: The bronze stags have a residue on the surface. Possibly a powder from an anti-moisture package.Also residues of polystyreneboth bronzes are in good condition.
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