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A 15TH CENTURY GOTHIC CARVED ALABASTER MODEL OF A LION
possibly English, the reclining beast with left paw on a sphere, retaining traces of polychrome decoration, carved in the full round on an integral naturalistic base,
12cm long x 8cm high
Nottingham in England became the centre of alabaster carving during the 15th century, where it was mined and then transported across Europe as far south as Spain and as far north as Iceland.
£1,000-£1,500
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A RARE 13TH CENTURY GOTHIC PERIOD CARVED AND POLYCHROME STONE FIGURE OF CHRIST BLESSING
the standing figure carved in the full round, an orb in his left hand, his right raised in blessing, stood on an integral shaped base, with original polychrome decoration,
37cm high
£2,500-£3,500
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AN EARLY 16TH CENTURY FLEMISH POLYCHROME DECORATED AND CARVED OAK FIGURE OF A SOLDIER
the standing figure wearing a plumed helmet, holding shield and sword, wearing a long blue cloak falling to the ground, carved with an integral base,
40cm high
£2,500-£3,500
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AN ITALIAN RENAISSANCE TERRACOTTA RELIQUARY BUST, PROBABLY 16TH CENTURY
the young female saint or Virgin Mary with centrally parted hair flowing down her shoulders, wearing a gown with circular aperture to reveal the relic, now filled, the interior with an old red wax seal, the exterior later painted,
37cm high
The form of the present bust, modelled in the full round and cut at the shoulders was developed in the 15th century but probably derived from an ancient prototype. As well as religious and reliquary busts, portrait busts of particular patrons were produced for specific commissions, for example see the late 15th century terracotta portrait bust in the Metropolitan Museum, New York which depicts a young man, probably a member of the Medici family. Museum No. 41.100.239, which is of similar form to the present bust.
Reliquary busts were also produced in carved wood such as oak and polychrome and gilt decorated, for example the reliquary bust of Saint Balbina, also in the Metropolitan Museum, which was produced in the South Netherlands ca. 1520-30. Museum No. 67.155.23
£5,000-£8,000
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A LATE 15TH / EARLY 16TH CENTURY LOWER RHINE OR NETHERLANDISH POLYCHROME DECORATED LIMESTONE BUST OF THE VIRGIN
the carved stone bust with original painted decoration (refreshed in some places), wearing a blue veil and red mantel, her eyes downcast and looking to sinister, later mounted on an ebonised plinth,
27cm high x 26cm wide
The exaggerated facial features of the Madonna are reminiscent of the polychrome oak sculptures produced in the Lower Rhine in the early 16th century, with wide set, heavily lidded eyes.
£4,000-£6,000
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A LARGE 18TH CENTURY FLEMISH TERRACOTTA RELIEF OF THE VIRGIN DATED 1760
of oval form, depicted in profile wearing a veil, hand modelled and dated in the terracotta at the back '1760'
55cm high x 40cm wide
£3,000-£5,000
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A 15TH CENTURY STAINED GLASS ROUNDEL DEPICTING THE MARTYRDOM OF SAINT SEBASTIAN, PROBABLY FLEMISH
depicting the Saint tied to a tree and pierced by arrows the archer and a further figure beside him, in a lead surround,
22cm diameter
£2,500-£3,000
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A RARE 15TH CENTURY STAINED GLASS GLASS DEPICTING SAINT PETER, PROBABLY FLEMISH
the saint enthroned and holding a large key, in lead border,
23cm diameter
Auction Comparable:
See Christie's, Amsterdam, 15 December 2008, lot 94 for a similar stained glass panel depicting St James.
£2,000-£3,000
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A RARE AND IMPORTANT FIRST HALF OF THE 16TH CENTURY GERMAN ALABASTER RELIEF DEPICTING THE PIETA
the Virgin in the centre supporting the dead body of Christ, a skull beneath her feet, flanked by Mary Magdalene and St John, with further figures behind and the symbols of the Passion, the complex background depicting the crucifixion cross flanked by the Good Thief and the Bad Thief on their crosses, with figures on horseback and others preparing the tomb, carved in high relief with a flat back,
59cm high x 39cm wide x 9cm deep
£10,000-£15,000
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A PAIR OF ITALIAN 18TH CENTURY MARBLE RELIEFS DEPICTING CHRIST AND THE MOURNING VIRGIN IN THE MANNER OF ORAZIO MARINALI (ITALIAN, 1643-1720)
the Baroque style busts of oval form, the Virgin Mary looking upwards with lips slightly parted, Christ with mouth open and long flowing hair,
49cm high (2)
£5,000-£8,000
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A PAIR OF 17TH CENTURY SICILIAN (TRAPANI) ALABASTER FIGURES OF SEATED NUDES
derived from the antique Spinario, both the female and male figures seated on a tree stump attending to their feet, on shaped integral bases,
30cm high (2)
£1,000-£1,500
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A LATE 16TH / EARLY 17TH CENTURY ITALIAN GILT BRONZE FIGURE OF DIANA THE HUNTRESS WITH A HOUND
the standing nude with crescent moon diadem her seated hound at the ground beside her, with an integral shaped base, later applied on an ebonised, stepped plinth,
the bronze 14cm high, 24cm high overall
Provenance:
Inherited by the present owner from a relative in Vienna. Please see the old photograph of the bronze in situ in a panelled room at the family property.
Other examples of this small statuette have appeared at auction in recent years, but the model has not been attributed to a specific sculptor. The Mannerist proportions and spirally turned, contra-posto pose of the figure are features reminiscent of the work of the great Italian Mannerist sculptors Girolamo Campagna (1549-1625) and Tiziano Aspetti (1559-1606) both working in Venice in the late 16th century and early 17th century.
Auction Comparables:
See Christie's, lot 221, 2 October 2013, catalogued as early 17th century and of similar size to the present bronze and lot 442, 7 July 2005 catalogued as late 16th / early 17th century, both in gilt bronze.
£600-£800
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WORKSHOP OF BARTHELEMY PRIEUR (FRENCH, 1540-1611): A RARE BRONZE FIGURE OF A WOMAN CUTTING HER NAILS, EARLY 17TH CENTURY
the nude seated on a draped stool and cutting the nails on her right foot, seemingly a solid cast, unfinished,
9.2cm high
This intimate and touching bronze appears to be unfinished and is perhaps a working model. A finished cast of this statuette is now in the National Gallery of Art, Washington (Samuel H. Kress Collection, 1957.14.24). The finished cast is a hollow cast, produced using the in-direct lost wax method, but with solid head, arms and lower legs which were probably formed free hand and joined to the rest of the figure. The three feet of the stool visible in our bronze have been removed from the finished cast, and without these feet the present bronze is the same size as the finished example. There is the remains of a sprue hole visible at her right hip and other small lumps of bronze such as at the end of the right foot which would have been removed and finished in the final cast. The bronze has been patinated and there are traces of black lacquer remaining over a mid brown patination which is consistent with Prieur's bronzes. Prieur and his workshop were known to have produced solid cast bronzes, for example that 'Man Carrying a Child' (The Blind Orion Guided by Cadalion) in the Metropolitan Museum, New York (Inv. No. 24.212.12).
Provenance:
Private UK Collection.
£800-£1,200
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ATTRIBUTED TO THE WORKSHOP OF NICOLO ROCCATAGLIATA (ITALIAN, 1575<\!->1625): AN EARLY 17TH CENTURY BRONZE FIGURE OF A PUTTO
the winged putto standing a contra posto, holding a cross and raised on a small square base, with remains of gilding, raised on an alabaster rectangular plinth inscribed 'IHS',
the bronze 15.5cm high, overall 17cm high
Provenance:
A private UK Collection.
This small bronze of a putto can be attributed to the workshop of Roccatagliata based on its similarity to another gilt bronze putto now in the Museum Boijmans Van Beuningen, Rotterdam. Although our putto has lost part of his wings, they are delineated in the same way as the museum bronze, the sash and knotted drapery have been treated in the same manner and the pose, proportions and the long curly hair are all comparable. Roccatagliata is well known for his production of bronze putti in various poses and activities, from carrying dogs to playing musical instruments.
£300-£500
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A 17TH CENTURY GILT BRONZE FIGURE OF VENUS WITH A DOLPHIN TOGETHER WITH THREE FURTHER FIGURES
Venus resting her left hand on the tip of the dolphin's tail, on an integral bronze base raised on a rectangular marble plinth, 12cm high overall, an 18th century Flemish carved boxwood figure of the Virgin trampling a snake, on an ebonised cylindrical plinth, 19cm hgih overall, an 18th / 19th century polychrome decorated carved wood figure of the Virgin and Child, and a 19th century gilt bronze figure of Mercury after Giambologna, on an ebonised plinth 35cm high, (4)
£300-£500
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A SMALL LATE 16TH / EARLY 17TH CENTURY ITALIAN GILT BRONZE FIGURE OF ST JOHN THE BAPTIST TOGETHER WITH A 17TH / 18TH CENTURY FIGURE OF ST SEBASTIAN
the figure of Saint John the Baptist holding a cross in his right hand and a lamb in his left, raised on a stepped ebony plinth, the figure of Saint Sebastian in silver gilt, tied to a boxwood tree and with arrow holes to his body, wearing a perizonium, raised on an ebonised plinth with gilt dolphin feet, with inventory number below,
11cm high and 15cm high overall respectively, (2)
£200-£300
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A PAIR OF 19TH CENTURY BRONZE RELIEFS DEPICTING NUDE MAIDENS
of oval form, each depicted half length and with long flowing hair, mid brown patination, mounted in gilt bronze moulded frames with hanging loops over, together with a lead figure of a young woman yawning and stretching,
the reliefs 21cm high, the lead figure 13.5cm high (3)
£200-£300
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A LATE 17TH / EARLY 18TH CENTURY GERMAN GILT BRONZE FIGURE OF FORTUNA
the nude figure in mid step, her left leg raised and balanced on the toes of her right, her arms raised and supporting her flowing drapery, raised on an ebonised, stepped plinth base,
the figure 30cm high, 35cm high overall
£3,000-£5,000
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CIRCLE OF NICCOLO ROCCATAGLIATA (ITALIAN, 1593-1636): A LATE 16TH CENTURY / EARLY 17TH CENTURY VENETIAN BRONZE FIGURE OF VICTORY
the figure in mid step and with left arm outstretched, holding a laurel wreath in the other hand, with wings outstretched, dark brown patination, raised on a later solid ebony plinth,
the bronze 23cm high, overalll 26cm high
£3,000-£5,000
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CIRCLE OF LORENZO VACCARO (ITALIAN, 1655-1706): A 17TH CENTURY GILT BRONZE FIGURE OF SAINT MICHAEL DEFEATING THE DEVIL
portrayed in a dynamic Baroque pose, brandishing his sword in his right hand and raised on his left foot, his right leg extended behind, wearing an antique cuirass and helmet, previously gilded, the areas of skin now revealing the brown patination of the bronze below, raised on an associated rectangular alabaster plinth,
the bronze 28cm high
The form of this bronze is derived from Vaccaro's silver and bronze figure of the same theme made between 1685 and 1700 and now in a private collection but known through photographs.
Related Literature:
"St Michael Defeating the Devil by Lorenzo Vaccaro: A sculpture to intercede for the souls of several important owners", Journal of the History of Collections, Vol. 30, Issue 1, 2018, pp. 113- 125.
£4,000-£6,000
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WORKSHOPS OF GIANLORENZO BERNINI (ITALIAN, 1598-1680): AN IMPORTANT THIRD QUARTER 17TH CENTURY ROMAN GILT BRONZE FIGURE OF CRISTO MORTO
the Corpus Christi wearing a flowing perizonium, his eyes closed and head down-tured, later mounted on a perspex stand,
43.5cm / 17 ΒΌ inches high
Provenance:
European private collector, London;
By whom gifted to the present private collection, England
Related Literature:
Roberto Battaglia, Crocifissi del Bernini in S. Pietro in Vaticano, Rome, 1942; Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London: Phaidon, 1966), pp. 229- 30, fig. 79
WITH THANKS TO DR CHARLES AVERY FOR HIS ASSISTANCE WITH CATALOGUING THIS LOT.
This fine gilt bronze figure of the dead Christ crucified on the cross (Cristo morto) is related to two crucifixes of the dead and living Christ, which in 1657 Pope Alexander VII Chigi (1655-67) commissioned Bernini to produce in order to decorate the side aisle altars of St Peter's. Twenty-three of these crucifixes are still in situ at St Peter's today on their original crosses, eighteen of the living version (Cristo vivo) and five of the dead Christ. Although the original model for the Cristo morto (presumably a drawing or terracotta figure) was made by Bernini, documents published by Roberto Battaglia in 1942 (op. cit.) reveal that the wax models for the crucifixes were made in 1658 by his studio assistant, the sculptor Ercole Ferrata (1610-86), and then, under Bernini's supervision, cast in bronze twenty-five times by the specialist founder Paolo Curieri, after which each figure was individually chased and finished by Bortolomeo Cennini. At the end of 1660 the casts for St Peter's were finished; the moulds for both types of crucifix, however, are listed in the inventory of Ferrata's studio after his death (see Wittkower, p. 229), so it is possible that some casts were produced after 1660, for other patrons.The present bronze is clearly based on the same model as the Cristo Morto crucifixes in St Peter's, exhibiting the same down-turned emaciated head, with sharp brows and a long chin ending in a pointed beard, long arms extending above the head, thin torso with a gushing, bleeding wound on the right side of His chest, and wearing a windswept loincloth (perizonium) swirling in a downward direction to His left. Like the present bronze, all of the crucifixes in St Peter's, as well as several other casts based on the same model, measure approximately 43.5 centimetres. The casting and finishing, however, differ from piece to piece, which lends each figure its individual character. According to Wittkower, (op. cit., p. 229) Bernini often eschewed pronounced anatomical details in favour of the 'tense energy' and 'vitality' which can be seen in an earlier model he made of the Cristo morto, the large crucifix for King Philip IV of Spain (c.1654: Escorial, Sacristy of the Colegio, fig. 3). Indeed, other contemporary bronze figures made in Bernini's Roman workshops, such as the Countess Matilda of Tuscany (c.1634: Melbourne, National Gallery of Victoria) and the Risen Christ (c.1673-74: Walters Art Museum, Baltimore,), also exhibit a lack of concern for minute anatomical detailing, for Bernini was a sculptor by training and not a small bronze specialist or goldsmith. This, together with the fine gilding and appropriate age-related wear, lead to the conclusion that the present figure is likely to be a contemporary cast based closely on Bernini's original design, made in his bronze workshops in Rome in the third-quarter of the seventeenth century.
£8,000-£12,000
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A PAIR OF SECOND HALF 17TH CENTURY ITALIAN (ROME) GILT BRONZE WINGED CHERUBS IN FLIGHT
each wearing a sash securing flowing drapery, their wings separately cast and each secured with a single screw, their backs hollow, raised on later white veined, black marble, stepped square plinths,
the putti 24cm high, 43.5cm high overall (2)
WITH THANKS TO DR CHARLES AVERY FOR ASSISTANCE WITH CATALOGUING THIS LOT.
Provenance:
Property of a private collector, England
Related Literature:
Alessandro Angelini, Gian Lorenzo Bernini e I Chigi tra Roma e Siena (Cinisello Balsamo, Milan 1998), p. 146, figs. 144-45;
Boudon-Machuel, François du Quesnoy, 1597-1643, Paris 2005, pp. 141-46, figs 142-44 ; pp. 247-49, pls. Fig. 140;
Oreste Ferrari and Serenita Papaldo, Le sculture del Seicento a Roma (Rome, 1999), p. 320;
Jennifer Montagu, Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque, (New Haven & London, 1996), pp. 12-13, fig. 18;
Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London, 1966), pls. 44-45
Notes:
Flying cherubim became one of the favourite motifs of the Baroque in Rome, often inspired by the need to lighten the sombre mood of images of cruel martyrdoms that were so emphasised in the imagery of the Counter-Reformation. Originated there by Algardi, Bernini and Duquesnoy, they rapidly became standard features in the repertory promulgated by their followers of the second generation. For instance, in the Algardian interior decoration of the church of Sant'Agnese in Agone that dominates Piazza Navona, Ercole Ferrata master-minded from 1658 eight enormous marble reliefs with 'angioletti' set around the entrance of the church bearing the symbols of the martyrdom of the name-saint. During the 1660s he and others modelled the angels in four semi-domes hovering above the huge marble side-altars of Saints Alessio, Emeranzia and Eustace, while Antonio Raggi did the one dedicated to St Cecilia. Furthermore, when it came to the High altar itself, an enormous marble relief of The Holy Family on the return from Egypt, a multitude of cherubim in mid-air pluck dates to feed them from a palm-tree (1673-76) Meanwhile Bernini, an addict of putti and cherubim, aided by his followers and a host of silversmiths working to his designs, was producing just as many little angels in metalwork for the successive popes, Urban VIII (Barberini) and Alexander VII (Chigi). Wonderfully plump and alive are the marble babies held as attributes in the arms of successive statues of Charity on the tombs of these popes in St Peter's. Putti abound amidst the trails of foliage round the 'barley-sugar' columns of Bernini's Baldacchino (1) in St. Peter's of 1624-30, some more or less flying, as in the present instance. Then in 1657, Bernini designed a hanging lamp (2) with three flying putti holding up a crown bearing the 8-pointed stars of the Chigi, for their family chapel in Santa Maria del Popolo: this was cast in bronze and gilded by Peter Verpoorten (1656-7, 3). These dangling putti were much replicated, and from this view the respective poses are not unlike those of the present pair of putti.François Duquesnoy, the Flemish immigrant among the triumvirate of founders of Baroque sculpture, secured himself the epithet of 'the master of the putti', which indicates how highly his babies - with their charming expressions, uncannily soft-looking infant skin and wispy hair - were regarded. Characteristic are a pair sadly and respectfully raising a curtain over the epitaph of Ferdinand van den Eynde, in Santa Maria dell'Anima. He could work the same magic in three dimensions in bronze, as in a flying Cupid meant to be accompanying a Mercury (Copenhagen).From a volume of drawings belonging to the Barberini, Jennifer Montagu illustrates a silver mirror-frame made by Michele Strinati in 1660, in which the two angels (or cupids) at either side are composed in twisted positions looking away from the frame and each other, just like those of the present pair, writing: 'Almost certainly this exceptionally large mirror in its luxurious frame with its frolicking putti was a wedding-present for Lorenzo Onofrio Colonna's wedding to one of the most intriguing women of the Roman Seicento [Maria Mancini, in 1661]'.
References:
1. Charles Dempsey, Inventing the Renaissance Putto (Chapel Hill and London, 2001), passim.
2. Oreste Ferrari and Serenita Papaldo, Le sculture del Seicento a Roma, Ugo Bozzi (Rome) 1999, p. 320.
3. See also Rudolph Wittkower, Gian Lorenzo Bernini, The Sculptor of the Baroque (London: Phaidon, 1966), pl. 44-454. Alessandro Angelini, Gian Lorenzo Bernini e I Chigi tra Roma e Siena, Cinisello Balsamo, Milan 1998.5. Boudon-Machuel, François du Quesnoy, 1597-1643, Paris 2005, p. 63, fig. 48.6. Jennifer Montagu, Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque, New Haven & London, 1996, pp. 12-13, fig. 18.
£4,000-£6,000
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A LARGE 17TH CENTURY FLEMISH OAK CARYATID FIGURE
the floorstanding figure carved in the round, with a basket of fruit including grapes, apples and pomegranates raised on her head, her drapery falling in folds to the ground, raised on a later square oak base,
136cm high
£6,000-£8,000
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A 16TH / 17TH CENTURY SPANISH COLONIAL CARVED AND PAINTED WOOD FIGURE OF CHRIST
the Corpus Chrsti from a crucifixion, now lacking arms, retaining traces of paint,
43cm high
Provenance:
Acquired in Mexico.
£200-£300
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A BRONZE CORPUS CHRISTI IN THE MANNER OF ALESSANDRO ALGARDI (ITALIAN, 1598-1654), PROBABLY 19TH CENTURY
the figure of Cristo Vivo with mouth and eyes open, wearing a perizonium, with holes to the hands and feet to mount on a cross,
52cm high
The model for this bronze Corpus was previously attributed to Bernini but has since been convincingly attributed to Algardi by Jennifer Montagu.
£800-£1,200
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A 19TH CENTURY BRONZE CORPUS CHRISTI ON EBONISED CRUCIFIX
wearing a rope tied perizonium, traces of gilding to the face, raised on a cross with ebony shaft and ebonised stepped base,
the Christ 38cm high, the cross 78cm high
£400-£600
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A 19TH CENTURY BYZANTINE STYLE BRONZE CORPUS CHRISTI
from a crucifix, the hair, beard and ribs clearly delineated, cast in high relief with a hollow back,
28cm high
£300-£500
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λ A 17TH CENTURY ITALIAN IVORY AND EBONY CRUCIFIXION SCENE
the Corpus Christi figure of Cristo Vivo with eyes open and head looking up, wearing the crown of thorns and with a rope tied perizonium, raised on an ebony cross over a rectangular plinth on a shallow bronze base, with an ivory cartouche above inscribed 'INRI', and an ivory figure of the Virgin Mary kneeling at the base, her mouth open revealing carved teeth within, her arm and part of her left side detachable to fit around the cross, her left hand grasping the other edge of the cross,
64cm high
£2,000-£3,000
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λ A 19TH CENTURY NEO-GOTHIC CARVED IVORY FIGURE OF THE VIRGIN AND CHILD
the standing figure with S shaped Gothic pose, wearing a pierced foliate crown and a mantel which the Christ Child holds in his right hand, he holds an orb in his left, her drapery falling in complex folds to the ground and revealing her feet in pointed shoes, with remains of polychrome decoration and gilding, raised on a later square marble plinth,
the ivory 22cm high
£800-£1,000
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λ AN 18TH CENTURY INDO-PORTUGUESE (GOAN) IVORY FIGURE OF SAINT ANTHONY OF PADUA HOLDING THE INFANT CHRIST
the standing figure holding the Christ Child in his right hand, Christ holding an orb and raising his hand in blessing, traces of gilding to the hood and paint around the hair and other recesses,
17cm high
£500-£1,000
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λ A 16TH / 17TH CENTURY SPANISH / PORTUGUESE COLONIAL CARVED AND PAINTED IVORY CORPUS CHRISTI
the figure of Christ with eyes open, wearing a perizonium, the beard and hair painted naturalistically, from a crucifix, possibly Goan or Ceylon,
22.5cm high
£500-£800
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A 19TH CENTURY NORTH EUROPEAN SILVER GILT, ROCK CRYSTAL AND IVORY RELIQUARY OF SAINT SIMON THE ZEALOT
the silver gilt Gothic style niche surmounted by an arched canopy with rock crystal faceted finial atop, with rock crystal columns, raised on a square pierced base set with cabochons, the ivory figure of St Simon holding a saw, with traces of green decoration and gilding, with import marks for London 1925,
17cm high
£1,500-£2,000
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A 17TH CENTURY ITALIAN GILT BRONZE RELIEF DEPICTING THE ASCENSION OF CHRIST
of rectangular form, the risen Christ appearing in the sky flanked by clouds and a pair of angels, with various figures below, a town in the background,
15.5cm wide x 13cm high
£1,500-£2,000
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A 16TH CENTURY ITALIAN BRONZE MEDALLION DEPICTING CHRIST AND THE CRUCIFIXION
the medal depicting Christ in profile, inscribed 'EGO SVM VIA VERITAS ET VITA', the reverse with a relief of the Crucifixion in the manner of Guglielmo della Porta, pierced,
8.5cm diameter
£1,800-£2,200
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A 19TH CENTURY DUTCH SILVER MOUNTED VELVET BAG
the velvet purse with silver mounts depicting various figures, with a ring handle above and a relief depicting a courting couple to the belt hook, marked R PS and WT to the hook,
31cm high
£300-£500
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AN 18TH CENTURY FRENCH LEAD MODEL OF TWO PUTTI PLAYING WITH A GOOSE
the two boys wrestling with the goose, modelled in the full round and on a naturalistic integral base,
25cm high
£2,000-£3,000
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AFTER FRANCESCO FANELLI (ITALIAN, 1577-1657): A 19TH CENTURY BRONZE FIGURE OF THE INFANT HERCULES WRESTLING TWO SERPENTS
the young Hercules with a serpent in each hand, a solid cast raised on an integral square base,
22cm high
£300-£500
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LOUIS-SIMON BOIZOT (FRENCH, 1743-1809): AN EARLY 19TH CENTURY TERRACOTTA MODEL OF VENUS AND CUPID ENTITLED 'LA CURIOSITE'
depicting Venus pulling back drapery to reveal the crouching putto beneath, and a nest with two doves, Venus with flowing drapery and seated on a rocky crop, the integral base inscribed 'LA CURIOSITE' and 'Boizot',
24cm high
Boizot was director of the sculpture workshop at the Manufacture nationale de Sèvres from 1773-1800, producing works in terracotta that were reproduced in white un-glazed biscuit porcelain designed to look like marble. The present group was reproduced in biscuit porcelain by the Sevres factory under his direction. Boizot's hard paste porcelain group of Charity, also produced by the Sevres factory, is now in the Getty Museum.
£500-£800
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A SMALL BRONZE OIL LAMP IN THE MANNER OF ANDREA RICCIO (ITALIAN, 1470<\!->1532)
modelled as the head of a satyr, a scrolling handle at the back and a hinged lid to the crown of his head, with silvered eyes, on a circular base,
7.5cm high
A similar example from the early 16th century is in the Ashmolean Museum, Oxford.
£200-£300
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AN 18TH CENTURY ITALIAN MARBLE BUST OF A NOBLEWOMAN
depicting in the ancient style, her drapery pinned at the shoulder, her hair centrally parted and arranged in a chignon, on a spreading rectangular plinth,
25cm high
£2,500-£3,500
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AFTER ALESSANDRO ALGARDI (ITALIAN, 1598-1654): A CLAY HEAD OF ST PIERRE INSCRIBED 'ETIENNE FILS 1818'
the bearded saint with furrowed brow and flowing curly hair, the reverse inscribed 'St Pierre 1818 Etienne fils',
24cm high
£600-£800
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A SMALL 17TH / 18TH CENTURY ITALIAN MARBLE BUST OF A ROMAN EMPEROR
the head carved in white Carrara marble with full head of hair and beard, the torso in coloured marble, wearing a toga, the back rusticated, raised on a later Verde Antico marble cylindrical plinth,
30cm high overall
£1,200-£1,800
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A LATE 19TH CENTURY PAINTED PLASTER BUST OF A BISHOP, POSSIBLY SAINT AUGUSTINE
wearing a Bishop's mitre and ecclesiastical vestments, looking downwards and slightly to dexter, raised on a stained wood plinth,
50cm high
Provenance:
Reputedly from St Augustine's Abbey, Ramsgate, which was built by the important architect and designer Augustus Pugin.
£300-£500
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A 17TH CENTURY FLEMISH (FLANDERS) BRASS SIX LIGHT CHANDELIER
the central stem surmounted by a trefoil suspension loop over a domed ceiling rose, the baluster, knopped and ringed stem with decorative borders of stamped circles, with a dot numbered disc issuing six decorative floral scrolling branches, above the main disc issuing the six scrolling branches terminating in circular drip pans and urn shaped nozzles, also dot marked, later drilled for electricity,
53cm high overall
£2,500-£3,500
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A SMALL 18TH CENTURY ITALIAN BAROQUE STYLE SILVERED BRASS MIRROR
the toilette mirror of arched form, the corners with laurel leaf mounts, with a pair of acanthus wrapped feet to the base, with hook at the back for hanging on the wall,
42cm high
£300-£500
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A FINE SECOND QUARTER 19TH CENTURY FRENCH ROSEWOOD, SATINWOOD, GILT BRONZE MOUNTED AND PAINTED WRITING BOX BY SUSSE PAPETIER, PARIS
of rectangular form, the inset satinwood hinged lid with brass escutcheon and ormolu foliate handle, the sides of the box with miniature painted panels depicting Jardin du Palais royal, Parc de Monteaux, Lacs du bois de Boulogne, Vue Generale du St Cloud, the interior with red leather letter holder with paper label inscribed 'SUSSE Papetier Passage des Panoramas, No. 7 a Paris',
27cm wide
Nicolas Susse and his brother Victor Susse, a paper merchant, founded the fine stationers 'Susse Papetier' in 1806, and were based at 7 Passage des Panoramas from 1806. Here, according to Montigny, they sold 'mechanical screens, nice souvenirs, chests, writing desks, secret desks, boxes for business cards'. In 1827 they opened a second store 31 rue Vivienne on the Place de la Bourse.
£300-£500
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AN 18TH CENTURY RUSSIAN WHITE METAL FILIGREE CASKET
of domed rectangular form, with filigree decoration of scrolling tendrils on a red velvet ground, the interior void,
18cm wide x 9cm high
£800-£1,200
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A FINE EARLY 19TH CENTURY FRENCH EMPIRE PERIOD BRONZE FIGURE OF THE VENUS CALLIPYGE, AFTER THE ANTIQUE
the standing goddess removing her drapery to reveal her behind, raised on a plinth modelled as a fountain, with bearded mask to the front emitting a gilt stream of water, flanked by a pair of swans,
56cm high
£2,000-£3,000
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AFTER PIERRE I LEGROS (1629-1714): A LATE 18TH / EARLY 19TH CENTURY FRENCH BRONZE GROUP OF SILENUS, PAN AND A NEREID 'THE DRUNKEN SILENUS'
the drunken figure of Silenus supported by the nude Nereid and Pan, a tambourine at his feet, on a naturalistic integral base, dark brown patination with brassy high points, raised on a later black marble circular plinth,
the bronze 18.5cm high, 23.5cm high overall
Museum Comparable:
An example of this bronze is in the Wallace Collection, London. The Wallace Collection note that the composition derives from early 17th century drawings by Sir Peter Paul Rubens but that the bronze is likely to have been cast in the workshops of Pierre Legros.
Auction Comparable:
A near identical figure of the same size and also catalogued as late 18th / early 19th century was sold at Christie's, Amsterdam, 22 September 2009, lot 68.
£1,000-£1,500
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AFTER GIAMBOLOGNA (ITALIAN, 1529-1608): A 19TH CENTURY BRONZE FIGURE OF MERCURY
leaping on a gust of wind from the mouth of the God of Wind, Boreas, holding his caduceus in his left hand, on a black marble and relief cast plinth,
66.5cm high
£600-£800
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A LATE 19TH CENTURY ITALIAN ALABASTER FIGURAL GROUP OF VENUS AND CUPID IN THE MANNER OF CANOVA
in the Neo-Classical style, depicting Venus nude reclining on a sofa, embracing the figure of Cupid beside her, raised on a rectangular base with egg and dart border,
40cm wide x 24cm high
£600-£800
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