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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Ken Bolan: My Mind's Eye
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Auction dates
14 May 2024 10:30 BST
Viewing dates
10 May 2024 10:00 - 16:00 BST
11 May 2024 10:00 - 15:00 BST
12 May 2024 10:00 - 15:00 BST
13 May 2024 10:00 - 16:00 BST
14 May 2024 09:00 - 14:00 BST
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26 % (exc. VAT) |
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Featured lots
We found 75 items matching your search
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AFTER THE ANTIQUE- A BRONZE FIGURE OF THE SPINARIO
CAST BY BARBEDIENNE, LATE 19TH CENTURY
Signed to cast F. Barbedienne Fondeur and complete with the Collas reduction méchanique pastille mark, numbered 35 underside and stamped T
23.5cm high, base 17.3cm wide, 9.7cm deep
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1
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Estimate
2,000 - 3,000 GBP
λ ALAIN CHERVET (BORN 1944), 'ANEMONE, A POLISHED BRASS COFFEE TABLE
1989
With circular glass top, blue crystal formation beneath the top, signed and dated 'Chervet, 1989'
40cm high, the top 101cm diameter
The coffee table comes with a certificate from the artist dated June 1990.
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GABRIEL JEAN PAUL MOREAU-VAUTHIER (1871-1936) A BRONZE FIGURE OF AN ELEGANT EDWARDIAN LADY
EARLY 20TH CENTURY
Signed to cast
38.5cm high, base 13.5cm wide
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1
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Estimate
2,000 - 3,000 GBP
A FRENCH LIFE SIZE PAPIER MÂCHÉ STALLION
LATE 19TH CENTURY
On wooden base with enamel maker's plaque inscribed 'CHEVAL GRANDEUR NATURELLE, CH. CHARPENTIER, PARIS' and an indistinct address
202cm high, the base 53cm wide, 176cm long
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1,000 - 1,500 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
TOAD
Bronze with green patina
Signed with initials, dated 2007 and numbered 7/25 (to underside)
17.5 x 28cm (6¾ x 11 in.)
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A BRONZE TABLE SCULPTURE
IN MODERNIST STYLE, 20TH CENTURY
With indistinct signature 'M. Man'(?)
29cm high, the base 20.5cm wide, 10.5cm deep
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A DANISH PATINATED PLASTER EGYPTIAN HEAD
EARLY 20TH CENTURY
The Egyptian stylised head possibly Tutankhamun, patinated in black and set on a simulated wooden block. reverse of base numbered 548 and with illegible impressed mark
25.5cm high, base 11cm wide
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1
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1,500 - 2,500 GBP
AFTER THE ANTIQUE, A GRADUATED GROUP OF THREE NEAPOLITAN BRONZE FIGURES OF NARCISSUS
LATE 19TH/EARLY 20TH CENTURY
Each standing on circular plinth, tallest cast by the Sommer foundry and signed to cast C Sommer Napoli
61.5cm, 40cm and 25cm high
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AFTER THE ANTIQUE, A BRONZE FIGURE OF THE VENUS DE MILO
CAST BY BARBEDIENNE, LATE 19TH CENTURY
Signed to cast F. Barbedienne Fondeur and complete with the Collas reduction méchanique pastille mark
30cm high, base 9cm wide
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EDOUARD LANTERI (1848-1917) A TERRACOTTA FIGURAL GROUP 'DUO' 19TH CENTURY Depicting ladies on a klismos chair, titled "Duo", and signed to cast E D Lanteri 53cm high, 43cm wide, 30cm deep
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A COLD PAINTED BRONZE OWL AFTER BERGMANN
20TH CENTURY
With glass eyes, perched on a hinged book, empty recess within, stamped 'BERGM'
26cm high, base 14.5cm wide
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AFTER JOSEPH LAMBEAUX; A BRONZE FIGURE GROUP/PAPERWEIGHT 'SAPPHIC LOVERS'
LATE 19TH/EARLY 20TH CENTURY
Signed to cast and with original red silk lined case
12cm wide
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Estimate
30,000 - 50,000 GBP
λ  MICHEL ZADOUNAÏSKY (1903-1983) PORTE AU SQUALE Sculpted, cast and painted panel Signed and dated 'Zadounaïsky 1933' 210cm high, 119cm wide, 9cm deep "La ferronnerie d'art, c'est un métier complet, il faut du biceps, il faut du cerveau. Mon travail et ma vie ne font qu'un". Provenance: Purchased privately from the artist's studio, subsequently purchased by Ken Bolan in 2002. Illustrated p.48, "Les Arts Decoartifs a Lyon 1910-1950", Thierry Roche where described as " porte au squale entoure de bancs de poissons stylises avec des touches de laque et de dorure " (ibid p.57 ). Russian born and raised in France, Zadounaïsky attended the Beaux-Arts de Lyon when he was 16. After just a year he quit and apprenticed with the chandelier makers Fournet to learn the trade of blacksmithing, design and construction. In 1924, he opened his first workshop in Lyon at 76 rue Béchevelin and worked there until 1953. Zadounaïsky developed his own language of design- melding curves, intricate lacework as well as an interest in animals which can be seen in many of his works. He became an expressive voice of the French Art Deco scene due to his unique designs and superb craftsmanship. The artist's work gained recognition from contemporaries such as Raymond Subes, who offered him collaborative work and commissions. His output was largely practical- console tables, candlesticks and other lighting. Purely decorative panels such as this are much rarer and the only comparisons can be drawn with a small set of door panels he executed - such as the Cobra and the snake charmer he worked for the bookbinder Buer.
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PACO RABANNE, 'SPACE', A TESSERAE CURTAIN
1960s
Formed of thin plasticised metal tiles suspended from a curtain vallance
Approximately 222cm high, 180cm wide
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A STEEL ROD LIGHTNING STARBURST WALL SCULPTURE
1970s
With soldered brass decorative detailing in seven layers
Approximately 92cm wide
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10,000 - 15,000 GBP
TESHIGAHARA SOFU (JAPANESE 1900-1979)
UNTITLED
Sheet Copper
Signed and dated 1962
approximately 399 x 95 x 50cm; 157 x 37½ x 19½ in.
The recent sculpture of the master Teshigahara Sofu has served as a major step in establishing a new aesthetic [...]. Until a new order is born, "adjacency" is the most abstract concept we have. The term "composition", which now enjoys currency in aesthetics and art criticism, is too classical, and I am even of the opinion that it should be replaced with "arrangement"
Michel Tapié "A Mental Reckoning of My First Trip to Japan (1957)", in From Postwar to Postmodern: Art in Japan 1945-1989, (New York, 2012), p. 99-100.
Born in Tokyo in 1900, Teshigahara is regarded as one of the most important Japanese Avant-Garde artists. In 1927 he started the Sogetsu-ryu school of Ikebana flower arranging for which he received the Minister of Education Awards for Art in 1962. From these roots in his mastered field of one of the three classical Japanese arts of refinement Teshigahara expanded his artistic endeavors into painting, calligraphy and sculpture. He first exhibited as a sculptor at Tokyo's Bridgestone Museum in 1957. This untitled work bears similarities with work exhibited in 2020 at the Sogetsu WEST, gallery in Japan which were titled " 八百万の神 " (YAOYOROZU no KAMIGAMI).
TIME Magazine called him the 'Picasso of Flowers' and he was awarded the Order of Arts and Letters by the French government in 1960 and the Legion of Honor in 1961.
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1
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15,000 - 25,000 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
RUNNING BOAR
Bronze of lifesize scale
Signed, dated 2010 and numbered 4/12
98 x 154cm; 38 ½ x 60½ in.
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15,000 - 25,000 GBP
PAUL EVANS (1931-1987), A PAIR OF CHROMIUM POLISHED STEEL SIDE CABINETS
BY PAUL EVANS, FOR DIRECTIONAL'S CITYSCAPE COLLECTION, CIRCA 1970
Each top inset with three slate panels, above three pairs of doors, the side doors opening to shelved interiors, one cabinet's central doors opening to a divided interior, the other cabinet's central doors with a fitted drawer, once cabinet signed
Each 84cm high, 229cm wide, 56cm deep overall
This was originally a single 4.5 metre cabinet, but Ken redesigned the cabinet into a pair as he felt they would fit into more spaces.
Paul Evans was born in Pennsylvania in 1931. He studied sculpture, metal work and silver and gold smithing. In the 1950s Evans began his career making copper chests and sculpted steel-front cabinets. In 1964 Evans became the designer for furniture manufacturer Directional Furniture. With them he introduced several series of furniture lines; such as the Argente series of one-off studio pieces, Sculpted Bronze series and the well desired Cityscape series. His relationship with them set a very high standard for creative manufacturing, insisting that every piece is made and finished by hand under his strict supervision. His pieces were almost always signed, and all of the custom items have a signature and a date. Paul Evans' combination of handcraft and technology anticipated the limited-edition art furniture of today. His designs are easily identifiable and highly collectable.
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A WHITE MARBLE BUST OF VENUS D'ARLES
19TH CENTURY
Set on socle base
65cm high overall, base 18.5cm wide
The Venus of Arles dates to the end of the 1st century BC. It was discovered, broken, in the Roman Theatre of Arles in 1651 by workmen who were digging a well. The head was the first part to be found. Reassembled and restored in part by Girardon, it was displayed by Louis XIV in the Galerie des Glaces of Versailles. During the Revolution it was seized and then placed into the Musée du Louvre.
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1
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10,000 - 15,000 GBP
AFTER THE ANTIQUE- A BLASHFIELD TERRACOTTA STATUE OF DIANA OF GABII
DATED 1870
On an associated pedestal base, figure hand signed to the clay J M Blashfield, Stamford 1870
Figure 166cm high, 262cm high overall, base 68cm by 69cm
The original 4 th century marble figure on which this is based was excavated by Gavin Hamilton in 1792 on Prince Borghese's property at Gabii outside Rome. In September 1807 it was purchased together with the bulk of the Borghese antiquities by Napoleon Bonaparte and was sent from Rome to Paris and by 1820 it was displayed in the Louvre where it still stands. More commonly referred to as Artemis- the figure stands 165cm high- which Blashfield copied in this terracotta example. Rather than bearing the usual impressed Blashfield stamp, this figure has the maker's name and date hand signed into the clay prior to firing, suggesting that this was an individual commission, although the figure does appear in Blashfield's 1857 catalogue.
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2,000 - 3,000 GBP
λ OSCAR ESTRUGA ANDREU (SPANISH B. 1933)
SOPORTE PARA GANIMEDES
Bronze on steel base
Signed and dated 11-80
Height (including base): 78cm; 30 ¾ in.
Oscar Estrugo is influenced by Greek mythology in his work and this piece is inspired by Ganymede, who was a prince of Troy (known for their association with horses). Ganymede was deemed so beautiful, he was carried off by the gods to serve as a cup bearer. Oscan Estrugo's works are very abstract and often depict a mix of figurative, Animalia and wheels- a natural consequence of his earliest career as a designer of agricultural machinery.
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1
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5,000 - 8,000 GBP
AUGUSTE-NICOLAS CAIN (FRENCH 1821-1894) A LARGE ANIMALIER BRONZE FIGURE OF A BULL
LATE 19TH CENTURY
Standing amongst an overturned wheat cart on a rocky outcrop, signed to cast and with sculptor's initials AC to right flank
Approximately 69cm high , base 54cm wide
Cain was an apprentice butcher before designing walking stick and paperweight decorations for Parisian jewellers Fannière Frères. In 1846 he debuted his first Salon as an animalier and subsequently submitted small bronzes using the sculptor PJ Mêne's foundry. He married Pierre-Jules Mêne's daughter and took over his studio upon his death in 1879. Mêne's widespread connections bought special commissions to Cain including works for the Louvre, many French gardens and New York's Central Park Zoo
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1
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1,800 - 2,500 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
LITTLE OWL IN FLIGHT
Bronze
Signed, dated 2013 and numbered 1/12
39 x 44cm; 15 x 17 in. (including base)
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1,500 - 2,500 GBP
λ SERGIO BUSTAMANTE (MEXICAN B. 1949)
IBEX
Copper and brass
108 x 113cm; 42 ½ x 44½ in.
Executed circa 1970s.
Bustamante was born in Culiacan, Sinaloa and studied architecture at the University of Guadalajara. Bustamante's first art exhibition showcased paintings and papier-mâché figures at the Galeria Misracha in Mexico City in 1966. In 1975, Bustamante was part of a group of artists that established the "Family Workshop Studio" in Tlaquepaque, Jalisco, Mexico. By the mid- 1970s, his practice expanded to include wood and bronze sculpture.
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145
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1
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5,000 - 7,000 GBP
'J.D': A TERRACOTTA SCULPTURE OF A YOUNG GIRL, PROBABLY AN ALLEGORY OF SCULPTURE
LATE 19TH CENTURY
Young girl, sculpting knife in hand, on a fluted column with an ionic capital, signed to cast JD
120cm high, base approx. 39cm wide
It has been suggested that the incised initials are those of the sculptor Juliette Delorme who exhibited at the Paris Salon 1880-1890, wife and student of sculptor Victorien Antoine Bastet (1852-1905).
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1
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20,000 - 30,000 GBP
AFTER THE ANTIQUE- A RARE TERRACOTTA STATUE OF THE CAPITOLINE FLORA BY THE PULHAM POTTERY, LATE 19TH CENTURY On associated Blashfield pedestal base, figure stamped PULHAM BROXBOURNE, pedestal hand inscribed J M Blashfield, Stamford Figure 167cm high, approximately 255cm high overall, base 69 by 69cm This rare Pulham figure of the Capitoline Flora, goddess of flowers and the season of spring and fertility, does not appear in either of the early 20 th century Pulham catalogues, suggesting that it was a one off commission, perhaps in emulation of earlier examples such as the Coade figure held at Basildon Park, Berkshire or Filippo della Valle's version in marble commissioned by the Adam brothers for Syon House. The Capitoline Flora was discovered in 1744 in the Pecile of Villa Adriana and was placed in the Capitoline Museum in Rome. In 1797 it was ceded to the French under the terms of the Treaty of Tolento and put on display in the Musee Centrale des Arts in Paris before being returned to the refurbished Capitoline Museum in 1816 where she still stands in the Palazzo Nuovo. The Pulham company was established in 1820 and in 1845 James Pulham & Son set up a manufactory in Broxbourne making terracotta and cast stone garden ornaments. From this base the firm expanded into landscape design, creating beautiful artificial landscapes with rustic waterways, rocky streams, grottoes and tunnels. The Pulhams are known to have produced work for at least 170 sites around the UK, from public parks and gardens to large private gardens and received two royal warrants, the first in 1895 for work at Sandringham for HRH The Prince of Wales, the second for work at Buckingham Palace in 1903.
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A WALL SCULPTURE OF A BRIG UNDER FULL SAIL
BY CURTIS JERÉ, 1975
Mixed metals, signed and dated to cast
75cm high, 108cm wide
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1
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Estimate
3,000 - 5,000 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
TAWNY OWL
Bronze
Signed, dated 2011 and numbered 1/12
109 x 27cm; 42¾ x 10½ in.
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AFTER THE ANTIQUE- A BRONZE FIGURE OF THE SEATED MERCURY
LATE 19TH CENTURY
Depicted seated on a rocky base, mounted on later oval base
23cm high overall, base 19.5cm wide
After the original, found at the Villa of the Papyri in Herculaneum in 1758, now in the National Archaeological Museum of Naples. The 1910 Fonderia Chiurazzi catalogue calls this bronze, 'Mercure au repos' and goes on to describe it as " Sculpture des plus beaux temps de l'art grecque."
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MANNER OF JEAN LOUIS GREGOIRE (FRENCH 19TH CENTURY) A LARGE BRONZE FIGURAL GROUP OF A WOMAN WITH CHILD
LATE 19TH CENTURY
Unsigned
46.5cm high
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2,000 - 3,000 GBP
AFTER THE ANTIQUE, A NEAPOLITAN BRONZE FIGURE OF THE DANCING FAUN
LATE 19TH CENTURY
In the manner of the Chiurazzi foundry with characteristic antique patinated surface
79.5cm high, base 26cm wide
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2,000 - 3,000 GBP
A LARGE PAIR OF HAGENAUER STYLE EBONISED BRONZE FEMALE FIGURES
LATE 20TH CENTURY
With slender women carrying brass urns on their heads, set on brass and bronze circular bases
Each approximately 168cm high, the bases 36cm diameter
These figures are probably depicting Ndebele woman who wear brass or copper rings around their neck, arms and legs as a symbol of their faithfulness and bond to their husbands. Hagenauer Werkstatten was founded by Carl Hagenauer an Austrian designer in 1898 and continued by his sons Franz and Karl Hagenauer from 1928 - 1986. The majority of their works were decorative metal ware and usually took on African themes, most popular of which were the Art Deco designs.
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A MONUMENTAL NI-VANUATU CARVED HARDWOOD SLIT DRUM
20TH CENTURY
282cm high, the metal base 81cm high, 61cm wide
Provenance:
The Tim Wonnacott Collection
This impressively tall sculpture, at 9ft in height, is suitable for indoor or outdoor display.
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Estimate
1,200 - 1,800 GBP
AFTER WILLY KREITZ (1903-1982)
FISH
Bronze
65 x 60cm; 25 ½ x 23½ in.
Conceived in 1931, one of three works cast by Ken Bolan circa 2000. Original work illustrated PP. 90-91 "Willy Kreitz 1903-1982", Antoon van Ruyssevelt & Marc Somers, Archief en Museum voor het Vlaamse Cultuurleven Antwerpen 1998.
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HERBERT WARD (1863-1919)
AFRICAN HEAD
Bronze, marble base
Signed
Height (overall): 27.5cm; 10 ¾, base: 5.5cm; 2 in. wide
Herbert Ward was a British sculptor, illustrator and writer. He spent 5 years in the Congo as an officer in the New Congo State and lieutenant of the Emin Pasha relief expedition. His tours in Africa inspired his future artworks which eventually led him to France to work on sculpture from 1899 onwards.
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A METAL WALL SCULPTURE OF THE GOLDEN GATE BRIDGE
BY CURTIS JERÉ, LATE 20TH CENTURY
Signed to reverse
81.5cm high, 151cm wide
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λ HANS RICHTER (GERMAN 1888-1976)
UNTITLED
Mixed media collage on wood
Signed, dated 1972 and variously inscribed (verso)
83 x 50cm (32½ x 19½ in.)
Unframed
Exhibited:
Milan, Galleria del Naviglio, March-April 1973
Hans Richter was a German painter and abstract artist who was part of the Dada movement. He was the co-founder of the "Artistes Radicaux" in Zurich in 1919, believing that artwork should be political and support the revolution.
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1
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Estimate
15,000 - 25,000 GBP
A LARGE AND IMPRESSIVE PAIR OF MARBLE BUSTS OF MARS AND MINERVA
NORTHERN EUROPE, LATE 17TH/EARLY 18TH CENTURY AND LATER
On later veined socles,
114cm high overall, marble busts 91.5cm high, bases 26cm wide
Provenance:
Sir John Gielgud's estate, The Coach House, Wotton House, North Oxfordshire
An interesting comparison in form, composition and scale can be made with the pair of marble busts of Mars and Minerva sold at Heritage Auctions, Dallas, Texas, United States, Property from the Estate of Mildred Fender, Fort Worth, Texas, 9th December 2022, lot 63318 ($75,000).
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1
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Estimate
2,000 - 4,000 GBP
AFTER FRANÇOIS-RAOUL LARCHE (1860-1912) A LARGE BRONZE FIGURE 'VINGT ANS'
CAST BY SIOT-DECAUVILLE FOUNDRY, LATE 19TH CENTURY
Signed to cast and with later inscription "Il son President, Charles Petit, le Cercle des Francs-Bourgeois, 1908'
90.5cm high, base 23cm wide
Potentially a gift from the school Les Francs-Bourgeois to the family of Charles Petit who was president of the 'cercle'.
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1
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3,000 - 5,000 GBP
RENÉ DE SAINT-MARCEAUX (1845-1915) A LARGE BRONZE FIGURE OF A HARLEQUIN
CAST BY BARBEDIENNE, LATE 19TH CENTURY
Standing masked figure clad in his Commedia dell'arte costume, signed to cast, dated 1879, stamped F Barbedienne Foundry, Paris, numbered 636 and with Collas reduction méchanique pastille mark
68cm high, base 26cm wide
René de Saint-Marceaux entered the Ecole des Beaux-Arts de Paris under the tutelage of Jouffroy, exhibiting at the Salon of 1868, studying later in Italy. He was awarded gold medals at the Paris Exposition Universelle of 1889, having been elected as a Chevalier to the Legion d'Honneur in 1880. Examples of this Harlequin figure are held in the Reims Museum, and Bucharest Arts Museum.
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λ HANS RICHTER (GERMAN 1888-1976)
PRO COUTIEL VARIATION
Mixed media collage on wood
Signed, titled, dated 1973 and variously inscribed (verso)
70 x 58cm (27½ x 22¾ in.)
Unframed
Hans Richter was a German painter and abstract artist who was part of the Dada movement. He was the co-founder of the "Artistes Radicaux" in Zurich in 1919, believing that artwork should be political and support the revolution.
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1
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Estimate
1,500 - 2,500 GBP
PAUL EVANS (1931-1987), A CHROME PEDESTAL TABLE
FOR THE CITYSCAPE COLLECTION (CHROME 200 SERIES) FOR DIRECTIONAL, CIRCA 1970
Signed
73cm high, 66cm wide, 66cm deep
Paul Evans was born in Pennsylvania in 1931. He studied sculpture, metal work and silver and gold smithing. In the 1950s Evans began his career making copper chests and sculpted steel-front cabinets. In 1964 Evans became the designer for furniture manufacturer Directional Furniture. With them he introduced several series of furniture lines; such as the Argente series of one-off studio pieces, Sculpted Bronze series and the popular Cityscape series. His relationship with them set a very high standard for creative manufacturing, insisting that every piece is made and finished by hand under his strict supervision. His pieces were almost always signed, and all the custom items have a signature and a date. Paul Evans' combination of handcraft and technology anticipated the limited-edition art furniture of today. His designs are easily identifiable and highly collectable.
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A FRAGMENTARY WHITE MARBLE HEAD OF VENUS 19TH CENTURY Unmounted 41cm high, base 19cm wide
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A FLEMISH CARVED WOOD FIGURE OF CHRIST
LATE 18TH CENTURY
Later mounted on a brass wrapped backplate
Figure 63cm high, 72cm high overall
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6,000 - 8,000 GBP
λ LUIGI BROGGINI (ITALIAN 1908-1983)
CAVALLO
1966
Bronze with verdigris patina, set into a concrete plinth base
Signed and stamped with foundry mark "Fonderie Cubro, Novate (mi)" (to underbelly)
Approximately 244 x 270 x 155cm; 96 x 106 ¼ x 61 in. (overall)
Luigi Broggini was an Italian artist, sculptor and ceramicist who studied at the Accademia di Berera in Milan under Adolfo Wildt. Broggini was an active member of the Corrente, a movement of artists who were rejecting the cultural isolation imposed by fascist politics. He lived in isolation in Paris and Switzerland following World War II and returned to the scene in 1953. This monumental horse sculpture was made using the lost wax process and has developed a Verdigris patina from outdoor exposure. Maquettes and working models for this horse figure and similar ideas are illustrated as items 44, 51, 54 in Broggini- di Alfonso Gatto , Edizioni Delle Ore Milano.
BIBLIOGRAPHY: "Broggini e il suo tempo - Uno scultore nell'Italia degli anni '30 tra chiarismo e Corrente", curated by Elena Pontiggia, 5th July - 27th September 1998, Civitanove Marche Alta, Chiesa di S. Agostino
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15,000 - 25,000 GBP
AFTER ANTONIO CANOVA (1757-1822) A MARBLE FIGURE OF HEBE
MID 19TH CENTURY
Set on original stone pedestal
Figure 163.5cm high, 250cm high overall
Hebe is among Antonio Canova's most successful and recognisable models. From its conception in 1795 it was praised for its originality with the composition and depiction of a classical subject not based on an antique model but invented by Canova himself. Canova let Hebe glide down from the clouds, pouring the wine she served to the gods. It is possible that in its original state- this figure may have been holding a ewer in her right hand and cup in her left. The presence of the tree trunk indicates it is taken from the third state onwards of Canova's composition- akin to the Chatsworth example from 1808. However the presence of the necklace and diadem indicates the sculptor has knowledge of the fourth version executed for the Countess Veronica Guarini di Forli in 1816/1817. The quality of this example would suggest that it was made not long after the sculptor's death and it still bears the marble strengtheners between the fingers which would normally be filed off after transport from Italy to the U.K.
RELATED LITERATURE
G.C. Argan, Canova all'Ermitage. Le sculture del museo di San Pietroburgo, exh. cat. Palazzo Ruspoli, Rome, 1992, pp. 92-94; O. Stefani, Antonio Canova. La statuaria, Milan, 1999, pp. 84-88, no. 7
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15,000 - 25,000 GBP
AFTER ANTONIO CANOVA (1757-1822), A LARGE WHITE MARBLE FIGURE 'THE DANCER'
19TH CENTURY
Standing figure with head turned and hands on hips, on a circular base, now on a modern oval pedestal in the Canova workshop manner
Figure 152cm high, 68cm wide, 50cm deep, 233cm high overall
Provenance:
The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex
"The novelty of both the concept and the figure's action, the charm of life and the illusion of movement in this, the simplest of compositions, made all Paris run to it, as if to a new play. I doubt that in the theatre, the most celebrated dancer has ever gathered such a crowd of admirers and received such applause."
A critic writing at the time of the exhibition of the prime version of Canova's Dancer at the Paris Salon, 1812
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A LARGE CARVED LIMEWOOD SWAN 20TH CENTURY With gesso fragments to exterior Approximately 79cm high, 53cm deep, 100cm long
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2,000 - 3,000 GBP
AFTER GEORGES MARIE VALENTIN BAREAU (1866-1931) A BRONZE FIGURE 'L'HISTOIRE'
CAST BY BARBEDIENNE, EARLY 20TH CENTURY
The allegorical female figure reading a scroll, with a gilt bronze laurel wreath, set on a brown faux marble base, signed to cast, with F. Barbedienne Fondeur inscription and Collas reduction méchanique pastille mark
65cm high overall, base 25cm wide
This work is also known as La Poésie (Poetry), Allégorie de l'histoire (Allegory of History) and L'appel Aux Armes (The call to Arms).
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2,000 - 3,000 GBP
λ GEORGE BINGHAM (BRITISH 20TH/21ST CENTURY)
BUST II
Bronze with a green patina
Signed, dated 2011 and numbered 5/9
Height: 62cm; 24 ½ in. (including base)
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A CARVED LIMESTONE TOTEMIC RUNE
PROBABLY EARLY 20TH CENTURY
129cm high, base 60.5 by 27cm
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3,000 - 5,000 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
LUCIFER
Bronze
Signed, dated 2012 and numbered 1/12
Height: 94cm; 37 in.
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3,000 - 5,000 GBP
λ HAMISH MACKIE (BRITISH B. 1973)
RUNNING HARE
Bronze
Signed, dated 2009 and numbered 2/12
47 x 42cm; 18½ x 16½ in.
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8,000 - 12,000 GBP
λ SOPHIE LOUISE WHITE (BRITISH CONTEMPORARY)
HERON
Bronze
Signed with initials SLW dated 2012
Height (overall): 214cm; 84¼in.
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4,000 - 6,000 GBP
A CARVED MARBLE BUST OF A YOUNG BOY IN THE 2ND CENTURY ROMAN MANNER
POSSIBLY ITALIAN GRAND TOUR, LATE 18TH CENTURY
Depicted with curling long hair and classical dress, shallow later plinth and set on a later marble base
Bust approximately 36cm high, 26cm wide, 18cm deep, 52cm high overall base 15cm wide
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λ SERGIO BUSTAMANTE (MEXICAN, BORN 1949), A LARGE COPPER AND BRASS FIGURE OF A TOUCAN
MID/LATE 20TH CENTURY
Set on an arched perch
The perch approximately 74cm high, 51cm wide
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AFTER THE ANTIQUE- A TERRACOTTA FIGURE OF DIANA OF GABII BY BLASHFIELD, MID 19TH CENTURY Stamped J.M Blashfield 65cm high, base 18cm wide, 17cm deep John Marriott Blashfield (1811-1882) was a mosaic floor and terracotta manufacturer in the 19th century. His early career saw him working for cement makers, Wyatt, Parker & Co of Millwall, which he took over in 1846 and during this time he became interested in terracotta. Many of his terracotta ornamentation can be seen on buildings across the UK. In the 1840s he started to produce terracotta sculptures and as the materials popularity grew, Blashfield moved into the market making urns, garden furniture and sculptures which resulted in moving the company to Stamford and renaming the company Stamford Terracotta Company.
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1,200 - 1,800 GBP
AFTER THE ANTIQUE- A BRONZE FIGURE OF THE VENUS DE MILO
CAST BY BARBEDIENNE, MID/LATE 19TH CENTURY
Signed to cast F. Barbedienne Fondeur and with the Collas reduction méchanique pastille mark, numbered 55 on the underside
47cm high, base 13cm wide
Achille Collas (1795-1859) invented and patented a machine which involved copying sculptures on a smaller scale whilst maintaining the details of the originals- his "réduction méchanique". In 1838 Ferdinand Barbedienne (1810-1892) went into business with Collas sculpting and selling miniature bronzes and they founded the company 'Collas et Barbedienne'. The Venus de Milo was the first 'reduced' sculpture made by Collas et Barbedienne and was offered in various sizes and colour patination choices- accommodating the tastes of their clients. The Venus de Milo or "Aphrodite of Melos" is an ancient Greek marble sculpture created during the Hellenistic period, perhaps between 160 and 110 BC. It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821.
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λ CHRISTIAN MAAS (FRENCH B.1951)
TAUREAU
Bronze
Signed, stamped with the 'Christian Maas' foundry mark and numbered 6/8
42 x 70cm; 16 ½ x 27½ in.
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GREGG LEFEVRE (AMERICAN CONTEMPORARY)
ABSTRACT FORM
Patinated bronze or brass
Signed and dated 1980
Height: 74cm; 29 in.
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