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Click here to subscribeAfter Frederick Remington (American, 1861-1909). Large bronze sculpture depicting a man perched precariously on a horse descending a steep slope. Incised signature along the base.Height: 62 1/2 in x width: 36 in x depth: 18 in. />Condition: Light wear throughout including some wear along the extreme edges. Some patination throughout. Light dirt and dust gathered in the recessed areas of the work.
Ed Chope (American, 20th century). Bronze sculpture titled "Survival III" depicting two bald eagles fighting over a salmon. Incised signature and numbered 17/150 along the base.Height: 49 in x width: 27 in x depth: 31 in. />Condition: Light wear throughout including some wear along the feathers. Some patination throughout. Light dirt and dust gathered in the recessed areas of the work.
Carl Kauba (Austrian, 1865-1922). Large bronze sculpture depicting a Native American man in a full feather headdress holding a rifle. Incised signature along the base. With a label from Browner Antiques and Gallery affixed to the base.Height: 72 in x width: 30 in x depth: 23 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Susan Kliewer (American, 20th/21st c). Bronze sculpture titled "La Sombrilla" depicting a woman seated on a horse with an umbrella, 1995. The horse stands on a rocky outcropping and is surrounded by sheep. Incised signature, date, and numbered 25/45 along the base. With a wooden base.Height: 31 in x width: 20 3/4 in x depth: 16 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Bronze sculpture in the form of an abstracted prancing horse. On a wooden plinth. Not signed. Similar to the style of Alonzo Hauser (American, 1909-1988).Height: 8 1/2 in x width: 3 in x depth: 10 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Adam Henein (Egypt, 1929-2020)The Cat bronzesigned 'A.HENEIN' and numbered 'VII/IIX', number 7 from an edition of 8, executed in 197335 x 103cm (13 3/4 x 40 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoAcquired directly from the Artist by the above circa 1990sBonhams are delighted to present two exquisite sculptures by one of the most prominent Arab sculptors of our time. Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galleria. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s, Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institut du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
Mohammed Ghani Hikmat (Iraq, 1929-2011)The Family wooden sculpture signed 'Ghani Hikmat' and dated '1964' in Arabic (lower right), executed in 1964171.5 x 46.5cm (67 1/2 x 18 5/16in).Footnotes:Provenance:Property from the private collection, GermanyAcquired directly from the artist by the present owner's family.'The modulation of sculpted lines in my figures, has been one of the focal points of my work for many years; what drew me in particular to the configuration of these forms is the dual appearance of both conflict and interplay between them. The union and fusion of sculpted figures is an integral part of my work and presents us with a constantly changeable relationship between form and meaning'- Mohammed Ghani HikmatThis remarkable wooden sculpture is a true testament to the unique artistic vision of Mohammed Ghani Hikmat. Born in Baghdad, Iraq in 1961, Hikmat has become known for his distinctive stylized approach to sculpture.Executed in an impressive scale, this sculpture portrays a Bedouin family in Hikmat's distinctive stylized manner. Rather than focusing on fine detail, Hikmat uses bold, sweeping curves and outlines to capture the essence of each figure. The result is a powerful and evocative portrayal that emphasizes the emotion and movement of the family.The wood itself is a work of art, with its deep, rich colors and fine-grained texture. Hikmat's skillful use of the medium creates a sense of fluidity and dynamism, adding to the sense of motion and energy in the sculpture.In 1953, Mohammed Ghani Hikmat graduated from the Institute of Fine Art in Baghdad. He then travelled to Rome to train at the Accademia di Belle Arti, graduating in 1959. While in Italy, he also studied metals at the Instituto di Zaka in Florence, specializing in casting bronze. He subsequently taught sculpture at the Baghdad Institute of Fine Art and the College of Architectural Engineering at the University of Baghdad.During his career, Hikmat was a prolific creator and exhibitor, and an active participant in the growing Iraqi art scene. He held several solo shows in Rome, San Remo, London, Beirut, and Baghdad. He also participated in most major national exhibitions in Iraq. He was a member of the Society of the Friends of Art and later the az-Zawiya group headed by Faiq Hassan. Significantly, Hikmat was also an influential member of the Baghdad Group of Modern Art (BGMA).Founded by his teachers and friends, Jewad Selim and Shakir Hassan Al-Said, the BGMA was arguably the most important artist society in modern Iraq and was dedicated to the idea that Iraq's heritage held a preeminent place within its modern art practice.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
Adam Henein (Egypt, 1929-2020)The Goat bronzesigned 'A.HENEIN' and numbered 'III/ VIII' on the bottom, number 3 from an edition of 10, executed in 1965 84 x 60cm (33 1/16 x 23 5/8in).Footnotes:Provenance:Property from a private collectionExhibited:Adam Henein Museum, Permanant Collection, Giza (another edition)Published:S. Al-Sharouny, A Museum in a Book: The Farsi Art Collection 'The Egyptian Works' Owned by Dr. Mohammed Said Farsi, Cairo 1998 (illustrated in colour p. 318 and illustrated p. 316 ref. 3/41).M. Khazindar, Adam Henein, Skira, Milan 2005 (another edition illustrated in colour p. 69).An iconic 1960's 'Donkey' sculpture by Adam Henein'In Abrahamic traditions, the goat stands as a poignant symbol of sacrifice and atonement. From the ancient Biblical ritual of the scapegoat, bearing the sins of the community into the wilderness, to the deeper theological narratives, the goat embodies the complexities of innocence, burden, and redemption. Its role serves as a profound reflection on humanity's relationship with the divine and our quest for absolution.'Bonham's are thrilled to unveil one of the most defining and iconic Adam Henein sculptures to ever come to market. One of the artists seminal early zoomorphic sculptures, dating from 1965, 'Goat' stands as a grand, symbolically profound, and deeply evocative example of Henein's oeuvre.Henein's childhood memories from a pastoral village in Egypt fostered a profound bond with the natural milieu and animals that surrounded him. Among them, the goat, particularly the proud female with her large, nurturing udder, captured his imagination. In the rural tapestry of Egypt, the goat emerges not only as an essential asset to peasant life but also as an emblem of vitality and fertility.To Henein, the goat epitomized the grace and allure of a modest existence and the intricate bond between humans and the natural world. The expressiveness of the goat's countenance and the emotions conveyed through its stance and demeanour deeply resonated with him.Supplementing his personal affinity for the goat was the influence of ancient Egyptian traditions, which revered animals both in worship and in daily life. Henein's goat sculptures reflect his aspiration to encapsulate this age-old reverence, immortalizing the eternal elegance and dignity of these creatures.In ancient Egyptian society, goats held both utilitarian and symbolic significance. They were indispensable to peasant life, providing milk, meat, and hide. Moreover, goats were intertwined with the lore of Khnum, the god of fertility. Their representation in art and mythology, therefore, bore witness to Egypt's agricultural legacy and its dependence on these animals.Yet, the symbolism of goats is not restricted to ancient Egyptian context. In Christian traditions, goats evoke powerful narratives. Their portrayal as innocent 'scapegoats' underscores their sacrificial roles, bearing humanity's burdens before God. However, the duality of their symbolism is evident, as they have, at times, been associated with the devil, representing the nuanced balance of sacred and profane. Today, the goat remains not only a tribute to Egypt's rich agrarian past but also a testament to its continued relevance in many regions of the nation.'This lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
Antoine Louis Barye (1795-1875) Theseus Slaying the Centaur sculpture, circa 1875 Bronze Signed 'A.L.BARYE' and stamped by Barbedienne foundry 41cm high, 38cm wide Literature G. F. Benge, Antoine-Louis Barye. Sculptor of Romantic Realism, University Park and London, 1984, pp. 48-9; M. Poletti and A. Richarme, Barye. Catalogue raisonné des sculptures, Paris, 2000, no. F34, p.111; W. R. Johnston and S. Kelly, Untamed: The Art of Antoine-Louis Barye, exhib. cat. The Walters Art Museum, Munich/ London/ New York, 2006, no. 63, pp. 164-5Footnote A similar example is held in the Musée du Louvre (inv. no. OA 5726) and in the Metropolitan Museum of Art (inv. no. 10133.4).
Japanese Meiji bronze sculpture in the form of a dragon. The dragon bares its teeth and rises from something likely clouds or water.Provenance: From the collection of Malcolm E. Lein, former director of the Minnesota Museum of American Art.Malcolm Emil Lein (1913-2003) was the director of the Minnesota Museum of American Art during its early and formative years. During his 30-year tenure, he fought to procure the museum funding, grow its permanent collection, and establish it as a St. Paul's premiere gallery. Along with his wife Miriam, who worked at the Walker Art Center, he was a fixture in the Twin Cities artistic community throughout his life.Height: 11 in x width: 8 in x depth: 18 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
AN IMPORTANT GILDED COPPER GEM-INSET FIGURE OF MAHASRI TARAC.12TH CENTURY BIHAR, EASTERN INDIAThe finely cast and gilded-copper figure wears a diaphanous floral-patterned lower garment, sumptuous jewellery including a necklace, broad bangles, armbands, a belt clasp and anklets all inset with semiprecious stones, a jewelled diadem, a topknot and large hoop earrings. Her hair is worn in a large bun at the right shoulder, with her hands in the teaching gesture (dharmacakra-mudra), the left holding the end of a scarf draped over her forearm and falling to the lotus seat by her left knee. She has two gem-set lotus stems at her side and is seated in the posture of royal ease (rājalīlāsana) on a lotus emerging from scrolling vine and gem-set lotus buds, all supported on a tiered platform with large pearl border. The pedestal is held by serpent kings (nāgarāja) at either side, and an attendant cradling Tara’s pendent right foot with her outstretched hands, with an elephant, lion, and a human figure among scrolling vine at the rear, and a tenon projecting from her back to affix a backplate, (now lost), into two slots cast in the back of the pedestal. The statue is cast in five parts, the figure of Tara together with the upper tier of the lotus pedestal, the lower tier of the lotus pedestal together with the plinth, the attendant figure supporting Tara’s foot, and the two nāgarāja, 1.3kg, 16.5 cm.Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.十二世紀 鎏金度母坐像來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。Mahāśrī TārāThe immensely popular goddess of compassion (karuṇā) and transcendental wisdom (prajñā), Tārā is known to intercede in the lives of her faithful and protect them from all manner of harm.Since her first appearance in India around the 7th century, she has assumed many iconographic forms. In this c.12th century sculpture from eastern India, she appears as the exalted (Mahāśrī) Tārā. Both teacher (her right hand assumes the teaching gesture, dharmacakra mudrā) and divine mother, she turns her compassionate gaze downwards to meet that of her devotees. She extends forward her gently cradled right foot, as if preparing to rise from her regal seat (rājalīlāsana) and enter the world. The goddess is closely aligned with nature. Her lotus seat, supported by two serpent kings (nāgarāja), arises within a natural setting. Two verdant lotuses enclose her, their flowers turning inward towards Tārā as if to acknowledge her luminosity. Indeed, the c. 7th century Sanskrit text Mañjuśrīmūlakalpa includes poetic tributes of her in just such terms, “trees, studded with flowers on every branch, abounding with open flowers…their bending boughs…turned towards the goddess Tārā.”Beneath the throne, tendrils arise from the stem of her lotus seat and fill the space with gem-encrusted foliate roundels, enclosing animals (lion and elephant), and human alike. Her seat rises above a stepped platform, finished by a row of large pearl beads. The sculpture was once completed by a (now missing) backplate, secured on a tenon at the back and further secured into two slots below it. Richly gilded and crowned and bejewelled, her lavish adornments include a substantial necklace, upper armlets, bracelets, belt, and anklets, all skilfully inset with multi-coluored gems. Large hoop earrings and a silk skirt with incised hem and floral ornaments also reflect her elevated status and enhance her beauty.This elegant sculpture is remarkable for its refinement, its balanced composition and Tārā’s beautiful countenance, which may be compared with that of the celebrated and contemporaneous Avalokiteśvara from Kurkihār. Gilded sculptures from eastern India are rare. Other outstanding examples include the c.12th century Avalokiteśvara from Kurkihār (25.5 cm.); a c.12th century Tārā in the collection of the Potala, Lhasa (41.5 cm.); and a c.9th century seated bodhisattva in a private collection (20 cm.). The circular tendrils enclosing figures along the base is a motif seen in other eastern Indian medieval sculptures including two 10th-11th century bronze sculptures from Faridpur, Gaya district. The large pearls along the base are also found in a copper alloy sculpture of a c.12th century seated Maitreya in the Ford Collection. Similar seated posture and inset gems can be found in a c.11th-12th century copper alloy sculpture of Padmapāṇi in the Bertie Aschmann Foundation of Tibetan Art at the Rietberg Museum. Tārā’s hair, drawn into a bun just behind her right shoulder, can be seen in other eastern Indian medieval sculptures, including a Tārā in the Potala Collection in Lhasa.The eastern Indian medieval school of art flourished between the eighth and the end of the twelfth centuries. A significant number of eastern Indian medieval sculptures bear inscriptions that include regnal dates of the local Pāla and Sena kings, making it possible to construct a fairly accurate chronology for this regional school. Encompassing the modern Indian states of Bihar, West Bengal and the country of Bangladesh, eastern India was the Buddhist homeland, the region where Śākyamuni Buddha (c.480 – c.400 BCE) became enlightened, expounded his spiritual teachings, and died. Countless devotees from within India and across Asia travelled here to seek authentic Buddhist teachings for over a millennium, until the final Muslim invasions of north India around the turn of the 13th century. Pilgrims studied at the great monastic universities (mahāvihāra) of Nālandā, Odantapurī, and Vikramaśīla, and offered homage at the region’s many temples and shrines. Indeed, works of art were a crucial element in the Buddhist pilgrim’s education in eastern India. A consecrated image was thought to embody the timeless presence of powerful gods. Particular statues were sometimes the destination of pilgrimage. Famous icons were said to speak, walk, give their jewellery to the poor, and above all, to answer the prayers of their devotees. Tibetan pilgrim Dharmasvamin described the main image in the Mahābodhi temple at Bodhgayā as insatiable to behold, such that when “even people with little faith [saw the image, they] felt it impossible not to shed tears.”Jane CaseyAugust 2023Dr Jane Casey is an art historian specializing in Himalayan art. She curated exhibitions at the Metropolitan Museum of Art in New York and at Casa Asia in Barcelona. Her publications include books and articles on Himalayan painting and sculpture. She is a Research Fellow in Tibetan Art at the Palace Museum, Beijing.
Paire d'importants et grands candélabres de style Louis XVI d'époque Napoléon III en bronze ciselé et doré à dix lumières, milieu XIXe siècleA pair of monumental Napoleon III ormolu ten-light candelabra in the Louis XVI style, mid-19th centuryEach depicting draped dancing muses holding aloft the foliate and flowering branches terminating in rose and lily-shaped nozzles and drip-pans, on reeded columnar bases hung with berried swags, above beaded and foliate moulding, on a square plinth with canted angles, 45cm diam., 135cm high, (17 1/2in diam., 53in high)Footnotes:Provenance: Private Italian collectionThe model of these candelabra is based on two plaster casts by Etienne Maurice Falconet (1716-1791), known from a drawing by Gabriel de Saint-Aubin executed in the margin of a booklet of the Salon of 1761. Similarly, the draped nymphs or muses can be as well associated to a model by Louis Simon Boizot (1743-1809) who was director of sculpture at Sèvres in 1774 (E. Bourgeois and G. Lechevallier-Chevignard, Le Biscuit de Sèvres, Recueil des modèles de la Manufacture de Sèvres au XVIIIe Siècle, Vol.I, p.23, no.311), see F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, p.89, F136-7.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Figure en bronze représentant le Gladiateur Borghese, entourage de Guillaume Berthelot (1580-1648), France, d'après l'Antique, première moitié du XVIIe siècleA bronze figure of the Borghese Gladiator, circle of Guillaume Berthelot (1580-1648), French, after the Antique, first half 17th centuryBrown patina, resting on an ebonised later socle, 33cm high, 43cm high with socle, (12 1/2in high, 16 1/2in high with socle)Footnotes:Provenance :Tomasso Brothers, Leeds;Sale, European Sculpture, Sotheby's, London, 6 December 2011, lot 48;Private Collection, ParisGuillaume Berthelot, French sculptor, trained and began his career in Rome in the early 17th century. He was strongly influenced by the antiquites he studied, restored and he saw while there. Returning to France in 1620, he was appointed ordinary sculptor to Marie de Médicis, for whom he worked on the Luxembourg Palace. He then became Richelieu's favourite sculptor, and was finally commissioned to build the cardinal's tomb at the Sorbonne.It should be noted that Berthelot's most important commissions in Rome came from the Borghese family in the early 1600s, who owned the original antique marble. It is also worth noting that one of his most important commissions while in Rome was for the Borghese family who owned the original antique marble, and that in Berthelot's posthumous inventory it specifically refers to a model of the Borghese Gladiator.The present bronze has close stylistic similarities to other bronzes ascribed to Berthelot, including another composition based on an antique source, a small, a small Diana the Huntress known in at least three versions (Cast in Bronze, loc. cit.). These two figures have the same type of face, with wide eyelids, a strong nose and a small mouth with expressive lips. A bronze version sold in 2005 (Sotheby's London, 8 July 2005, lot 59) and another in private hands (see Leithe-Jasper and Wengraf, op. cit. no.35, fig.1, p.298) date from the late 17th century and have been attributed to Roger Schabol (active. 1680- after 1714).See the following for comparable examples:F. Haskell and N. Penny, Taste and the Antique, The Lure of Classical Sculpture 1500-1900 (1981), no.43, pp.221-24;New York, Frick Museum, European Bronzes from the Quentin Collection, 28 Sept. 2004 - 2 Jan. 2005, M. Leithe-Jasper et P. Wengraf, no.35, fig.1, p.298;Paris, New York and Los Angeles, Musée du Louvre, Metropolitan Museum of Art and J. Paul Getty Museum, Cast in Bronze, French Sculpture from Renaissance to Revolution, 28 Oct. 2008 - 27 Sept. 2009, G. Bresc-Bautier, G. Scherf et J. D. Draper eds., no.43, pp.62, 172-75For further information on this lot please visit Bonhams.com
Importante tapisserie de Bruxelles figurant 'Le Colosse de Rhodes', fin XVIe siècleAn important Brussels tapestry depicting 'The Colossus of Rhodos', late 16th centuryWoven in wools and silk, after designs by Maarten van HeemskerkDepicting the Colossus of Rhodes -the monumental semi-clad statue of the sun god Helios -one of the wonders of the ancient world, with his quiver of arrows on his left shoulder and his bow grasped in his left hand, set against an extensive and bustling landscape with numerous boats, the central field flanked by large scale figures admiring the Colossus dressed in elaborate costume and gesturing to the ancient monument, to the right of the large female figures on the left is the seated sculptor (Chares of Lyndus?) dressed in a red tunic, designing a sculpture on paper while his assistants polish pieces of sculpture including a large head to the centre of the main field, the rich border with standing draped figures, flowering vases and vignettes with scenes featuring couples on boats, pastoral scenes and extensive foliate and floral surround with birds and fruited elements, with blue outer slip, 391cm wide350 cm high, (153 1/2in wide x NaNin deep x 137 1/2in high)Footnotes:Provenance:By repute, Contini Bonacossi Collection, Florence;Private Collection, AthensThe present lot forms part of a series called 'The Wonders of the World.' For a similar examples see the 'Colosseum' tapestry at the Metropolitan Museum of Art -although this has an 'Elements' border (specifically designed by Philip II) which differs from the figurative border in the present lot.The designer for the Wonders of the World series was Maarten van Heemskerck (Netherlandish, Heemskerck 1498-1574 Haarlem). These designs are thought to have been based on Pedro Mexia of Seville's Silva de varia Leccion, published in 1540. When it comes to attribution of a weaver for the series, Standen suggests that the following could be possible candidates: Willem Segers, Francis Sweerts, Niclaes de Canter, Isaac van Asperen or Nikolaus Le Coustre. The set was made up of eight panels although the Colosseum usually does not form part of the seven wonders. Standen argues that the Colosseum attained the status of one of the Ancient Wonders of the World partly because the colossal statue of Nero that once stood within the building was confused with the Colossus of Rhodes. The ancient monument was built, circa 280 BC, to commemorate the triumphant defence of Rhodes against an attack by Demetrius I of Macedon. It was believed to stand at 33m (108ft) high and collapsed in the earthquake of 226BC. What is considered to be the original dedication for the Colossus reads as follows:Αὐτῷ σοὶ πρὸς Ὄλυμπον ἐμακύναντο κολοσσὸντόνδε Ῥόδου ναέται Δωρίδος, Ἀέλιε,χάλκεον ἁνίκα κῦμα κατευνάσαντες Ἐνυοῦςἔστεψαν πάτραν δυσμενέων ἐνάροις.οὐ γὰρ ὑπὲρ πελάγους μόνον κάτθεσαν, ἀλλὰ καὶ ἐν γᾷ,ἁβρὸν ἀδουλώτου φέγγος ἐλευθερίας·τοῖς γὰρ ἀφ' Ἡρακλῆος ἀεξηθεῖσι γενέθλαςπάτριος ἐν πόντῳ κἠν χθονὶ κοιρανίαTo you, O Sun, the people of Dorian Rhodes set up tis bronze statue reaching upto Olympus, when they had made peace with the waves of war and crowned their city with the spoils taken from their enemy. Not only over the seas but equally on land did they kindly the lovely torch of freedom. For the descendants of Herakles, theirs in dominion over land and sea. Two panels which are not thought to have survived from the series are Pharos of Alexandria and the Walls of Babylon. The known survivals from the series include Zeus at Olympia, The temple of Diana at Ephesus, The Colossus of Rhodes, The Mausoleum of Halicarnassus and the Pyramids of Egypt. A set of six pieces were sold by Francis Swerts, the Antwerp weaver and dealer to the archduke Ernst in 1594/95 and in inventory of the Hotel de Conde, Paris, made in 1719 includes 'Huit pieces de tapisserie representant les Sept Marveilles.'A set of four were sold in 1920 at Georges Petit in Paris on June 18, lots 55-58. Other sets are known to form the collections of Palazzo Venezia, Rome and the William Rockhill Nelson Gallery, Kansas City. See the following for further reading:E. Cleland, Grand Design Pieter Coeke van Aelst and Renaissance Tapestry, Yale University Press, 2015;E.A Standen, Romans and Sabines: A Sixteenth Century set of Flemish Tapestries;E.A. Standen, European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, cat, 19, vol. I, pp. 154 - 161;M.F Viale, Tapisseries Flamande inédites en Italie, illustrated fig 4This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
TWO SMALL BRONZE FIGURES OF DOGS, comprising a bronze sculpture of a standing greyhound, height 9cm x length 11cm, together with a cold painted bronze figure of a gundog, height 4cm x length 9cm (2) (Condition Report: good condition, gundog has a little wax residue on one side, and some paint wear in places, one foot of the greyhound has been slightly mis-cast)
antique neoclassical French garniture in black marble and bronze with a pair of urns and a clock (with a Marti signed work) with a sculpture || Antieke driedelige neoclassicistische schouwgarnituur in zwarte marmer en deels gedoreerde brons bestaande uit een paar urnes met bas-reliëfs (hoogte : 44 cm) en een klok (breedte : 48 cm) met werk getekend "Marti Médaille de bronze" en bekroond met een buste (hoogte : 34 cm)
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