A bronze model of a seated female nude, attributable to Barthélemy Prieur, (circa 1536 - 1611), portrayed wearing a headband and looking down to dexter, her right hand reaching down to the heel of her right foot, with drapery across her loins; on a square section marble base with marble soclle The bronze 13.75cm high; the height overall 17.75cm COMPARATIVE LITERATURE AND EXAMPLES: See W.Bode, The Italian Bronze Statuettes of the Renaissance, M.A.S. de Reinis, New York, 1980, Plate CCXV for a similar example held at the Huntington Library, San Marino, California, (Object Number 17:17). Bode has the bronze as Italo-Netherlandish, but the Huntington now attributes it to Barthélemy Prieur Another example, firmly attributed to Prieur is held at New York's Metropolitan Museum of Art, (Accession Number: 25.142.5); whilst a third can be seen in the Staatliche Museen at Berlin, (Ident.Nr. 1970). Interestingly all of these examples are undraped
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After Giovanni Bonazza, (Italian 1654 - 1736), a bronze model of the young Bacchus, portrayed as corpulent and nude but for loose drapery across his midriff, asleep and reclining against a wine barrel, his smiling face beneath tousled hair thickly interwoven with fruiting grapevines, a bunch of grapes held in his left hand behind him, a skyphos resting near his feet 25.5cm high, 48cm long CATALOGUE NOTES: This model, sculpted in white marble and attributed to Bonazza reappeared at auction in London in 2007, and has latterly been described as bearing 'joyful Rubensian carnality, the sarcastic smile, exaggerated to the extent of resembling a grotesque mask'. Cf Christie's King Street, Le Goût Steinitz, III, 6th December 2007, lot 416 The Sleeping Bacchus here has clear antecedents, but perhaps the most obviously comparable are works in oil rather than in the round. A picture by Hendrik van Balen (1575 - 1632) held at Brodsworth Hall in Yorkshire (English Heritage) is strikingly similar in its depiction of the chubby god in his youth. The very pronounced fleshiness; the half-closed eyes and sated smile suggestive of inebriated unconsciousness rather than restful sleep; the use of the wine keg as a pillow; the deeply interwoven vine to the hair --in all these ways and more besides, the current bronze is highly corresponding A Sleeping Bacchus attributed to Giusto le Court (French 1627 - 1679) might also have been seen by Bonazza. Towards the end of his life le Court worked in Venice, the city of Bonazza's birth, so it is certainly not inconceivable that the young Bonazza could have seen some of le Court's output there, and his version of the Sleeping Bacchus is certainly related Bonazza's work proved highly influential itself, with analogous works appearing soon afterwards, with such greats as Clodion producing similar models in the 18th century and Jacques Jaquet (1833 - 1875) continuing the theme into the 19th century
A Neapolitan patinated bronze model of Narcissus, cast after the Antique almost certainly by Chiurazzi & Sons, late 19th century, portrayed standing and nude but for sandals, an animal skin slung over his left shoulder, on a circular waisted socle with stylised foliate cast edging 28.5cm high CATALOGUE NOTES: The Narcissus, held at the Museo Nazionale, Naples was discovered as recently as 1862 but was very quickly acclaimed as a masterpiece. Haskell and Penny stated that 'It was the last antique statue to be discovered in Italy which enjoyed enormous fame...'. (Taste and the Antique, Yale University Press, 1981). Indeed the secretary of the Naples Museum maintained that it was the most beautiful bronze ever to have been discovered at Pompeii. By the turn of the century, revised opinion suggested that the bronze represented Dionysus, but it is still generally known as the Narcissus
A Roman bronze model of the nude Aphrodite from Syria, circa 1st/2nd century A.D., portrayed standing with her weight on her left leg, wearing a diadem in her centrally parted hair with a chignon behind, her face turned a little to dexter, an apple held in her raised right hand, her left arm also raised and held out before her 19.5 cm high Atop a modern marmo rosso Verona plinth, 28.5cm high overall PROVENANCE: Sotheby's London, Antiquities, 10th July 1989, lot 204
A pair of Italian Grand Tour souvenir models of Roman gladiators, early 20th century, both portrayed as essentially nude and in bellicose pose, both with shield and gladus, one with arm raised to hold a (missing) spear, on rectangular marmo Siena bases 16 and 17.5cm high respectively And another pair of Italian Grand Tour souvenir models of Roman gladiators, early 20th century, both portrayed standing and in armour, each with gladus, on circular marmo Siena bases 17.5cm high
Poul Janus Ipsen, a Copenhagen black biscuit porcelain group of a youth with a lioness, late 19th century, the young man portrayed as heroically nude and with a cub in his left hand, a spear in his raised right hand above the attacking lioness, the rectangular base stamped P IPSEN Cjobenhavn 290 53cm high overall A bisque porcelain model of the Farnese Hercules, late 19th century, after the Antique, simulating terracotta 32cm high And five Continental biscuit porcelain models of figures in Neoclassical taste, some Copenhagen, comprising a discus thrower, a Venus, a Mercury Resting, Ganymede with Jupiter's Eagle and a standing warrior The largest 36cm high
Louis Julien (Jules) Franceschi, (French 1825 - 1893), a patinated bronze group of Hebe and Jupiter's Eagle, last quarter 19th century, the goddess portrayed as nude and seated across the back of the eagle, partially supported by its right wing, a tazza held in Hebe's right hand; the reverse of the eagle with foundry stamp for F. P. SANSON SUCCr. HAMBURG NEUERWALL, the domed base signed in the maquette Jules Franceschi and rotating on a waisted circular socle 67.5cm high, 42cm wide
Sir William Russell Flint (1880-1969) - woman holding a pair of blue slippers, signed coloured print, 47 x 50.5 cm approx sheet size, together with further portrait studies of male and female figures including oil painting on board of a seated soldier, unsigned, K Ross Welburn (1910-1998) pastel study of a seated female nude, etc, also together with an early 20th century coloured engraving in the 18th century manner of a family picnicking, various sizes, mostly framed
Monogram GE (19th century British School) - shoulder length study of man with moustache, possible self portrait, oil on canvas, signed with initials GE, 22.5 x 15 cm, framed, together with a pencil study of a nude female figure signed Colin Alison, a 19th century study of a gentleman and his hunter in a landscape setting, a coloured engraving after Henry Aiken? of a hunting scene, etc, various sizes, together with a folder of coloured prints after DH Lawrence (Lorenzo 20th century) and various unframed botanical engravings, etc
Sir Frank Dicksee PRA (1853-1928) SEATED MALE NUDE STUDIES Signed l.l., pencil 39.7 x 61cm Provenance: The Bryan Steele Collection; purchased from the artist's family, by descent. Literature: Simon Toll, 'Frank Dicksee 1853-1928, His Art and Life', ACC, 2016, p.230, FD.1891.1.E. The drawing is a study for Dicksee's painting, 'The Mountain of the Winds' (Manchester City Art Gallery).
Sir Frank Dicksee PRA (1853-1928) STANDING MALE NUDE STUDIES Signed l.l., pencil 61 x 39.5cm Provenance: Purchased from the artist's family, by descent. Literature: Simon Toll, 'Frank Dicksee 1853-1928, His Art and Life', ACC, 2016., 2016, p.231, FD.1893.1.H. The present work is a study for Dicksee's 1891 painting 'The Funeral of a Viking', Manchester City Art Gallery.
Sir Frank Dicksee PRA (1853-1928) NUDE STUDY OF A SEATED WOMAN AND INFANT Black and white chalk 61 x 41cm Provenance: The Bryan and Valerie Steele Collection; purchased from the artist's family, by descent. Literature: Simon Toll, 'Frank Dicksee 1853-1928, His Art and Life', ACC, 2016, 2016, p.233, FD.1897.5G. The sketch is one of several designs for Queen Victoria's address to the nation on the occasion of the sixtieth year of her reign.
A COLLECTION OF EPHEMERA, containing an eclectic mix of Victorian and Edwardian postcards and photographs, early-mid 20th Century postcards and photographs, including two semi-nude photographs of females one of which has a map with directions on the reverse (damaged) and an album of watercolours and pencil sketches of locations in Cornwall, male and female characters, churches, etc, the album dates from 1888 and is initialled W J C
Late 19th/early 20th century Italian carved alabaster figure of three classical semi-nude maidens holding aloft floral garlands supporting two piece globe carved with astrology motifs, central band carved with the zodiac signs, in the manor of Ferdinando Vichi - a/f Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
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