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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Tomasso
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30 Oct 2024 10:30 GMT
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We found 146 items matching your search
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AFTER THE ANTIQUE- A PAIR OF BRONZED COPPER RELIEFS
ITALIAN, 19TH CENTURY
Depicting Endymion and his dog and Meleager at rest, framed
Endymion frame is 27 x 26cm
Meleager frame is 38 x 27cm
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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A WHITE MARBLE HEAD OF A MAN
ITALIAN, 18TH/19TH CENTURY
Set on modern base
bust 33cm high, 38cm high overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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4,000 - 6,000 GBP
A CARVED LIMESTONE STANDING MALE FIGURE
CYPRIOT, CIRCA 4TH CENTURY B.C.
Possibly a beardless votary figure, holding bird in his left hand
73cm high, base 31 by 17cm
For comparable examples please see figures from The Cesnola Collection, now in the Met Museum, Accession Numbers 74.51.2668 Met Cesnola link 1 <https://www.metmuseum.org/art/collection/search/242219> and 74.51.2725 Met Cesnola link 2 <https://www.metmuseum.org/art/collection/search/242276>
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Y  A PAIR OF CARVED EBONY MODELS OF A COCKEREL AND A HEN INDIAN, 19TH CENTURY With paler wood carved for the heads taller 18.5cm high, base 12.5cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,500 - 2,500 GBP
A LARGE PAINTED PLASTER BUST OF EMPEROR MARCUS AURELIUS
ITALIAN, 18TH CENTURY
86cm high
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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A CARVED WOOD CORPUS CHRISTI
EARLY 17TH CENTURY
Possibly cedar- North Italian or Spanish
35.5cm high, 32.5cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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6,000 - 10,000 GBP
AFTER THE ANTIQUE- A BRONZE BUST OF SOCRATES (C.470-399 B.C.)
FRENCH, LATE 17TH/EARLY 18TH CENTURY
On marble socle
bust 50cm high, 66cm high overall, base 17.5cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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5,000 - 8,000 GBP
AFTER JOSEPH NOLLEKENS- A BRONZE PORTRAIT BUST OF WILLIAM PITT THE YOUNGER (1759-1806)
POSSIBLY A PIMLICO OR WOOLWICH FOUNDRY, EARLY 19TH CENTURY
Socle base
75.5cm high overall, base 22cm diameter
Between 1805 and 1815 Nollekens executed a large series of busts of British 'Worthies'- politicians, royalty and friends of George IV. After Pitt's death in 1806 he was commissioned to take a death mask which he used as a model to make marble busts of the ex-Prime Minister. By 1808 he could boast that he had taken orders for 52 examples of the bust. According to his biographer J. T. Smith, he went on to sell 74 examples in marble and 600 plaster casts. The bronze founder for this work is, as yet, unidentified although it has been suggested it may be by Benjamin Vulliamy. Sir Richard Westmacott has established his own foundry in Pimlico in 1809- with Sir Richard Chantrey establishing another in 1827. Prior to this, both had relied on foundries such as the Royal Brass Foundry at Woolwich.
For an example of this portrait bust in marble please see Dreweatts 1759, Fine Furniture and Works of Art auction, 29th March 2023, lot 305 (sold for £9,000 hammer).
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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3,000 - 5,000 GBP
AN ITALIAN CARVED MARBLE BUST OF AN EMPEROR
18TH CENTURY
With classical clothing, with medallion mount tie to shoulder, on associated socle
approximately 67cm high overall, 59cm wide across the shoulders
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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70,000 - 100,000 GBP
THE DE ROTHSCHILD VASES: AN IMPORTANT PAIR OF CARVED IMPERIAL PORPHYRY VASES
FRENCH, 18TH/19TH CENTURY
Each in Egyptian porphyry with waisted neck flanked by dolphins, the gadrooned body embellished with a frieze carved with rinceaux and male masks, on a waisted socle and square plinth
53cm high, 34cm wide, bases 14.3cm square
Provenance:
Vase 1: Almost certainly the De Rothschild Collection, thence to an important Swiss collection, by repute, Alain Moatti, possibly acquired from Galerie Camoin Demachy, Paris
Vase 2: The De Rothschild Collection, Exbury House, Hampshire
Literature :
P. Malgouyres et al., Porphyre: La Pierre Pourpre Des Ptolemées Aux Bonaparte, Paris, 2003
D. del Bufalo, Porphyry: Red Imperial Porphyry. Power and Religion , Turin, 2012
Quarried exclusively at Mons Porphyrites in the Eastern Desert of Egypt, Imperial porphyry has been prized since antiquity for its remarkable hardness and lustrous purple colour, which bears a close resemblance to that of a particularly expensive pigment developed by the Phoenicians, known today as Tyrian dye. Several literary sources from antiquity speak of Alexander the Great's partiality to this colour, of his custom of wearing purple robes and of decorating his palaces with porphyry. The heirs to his throne in Egypt, the Ptolemies, are said to have continued this tradition, but it is only with the Roman Emperors Nero and Vespasian, towards the end of the first century A.D., that the association of porphyry with secular and religious power became established in Western civilisation.
Rome, the seat of the Empire, is where centuries later ancient porphyry statues, slabs, columns and vessels were excavated, as a result of the Renaissance period's renewed interest in classical art and architecture. The potent symbolism of porphyry, with its strong imperial connotation, thus assumed an additional level of meaning, as an emblem of Renaissance courts' erudition, fascination with antiquity and aspiration to parallel ancient Rome's splendour.
By the seventeenth and eighteenth centuries, porphyry was avidly collected by powerful figures such as the Medici Grand Dukes of Tuscany, the French cardinals Richelieu (1585-1642) and Mazarin (1602-1661), and the 'Sun King' Louis XIV of France (1638-1715), who had a buying agent in Rome for his acquisitions. The interest in porphyry was such that it prompted artists to rediscover the art of carving it, a practice for which ancient Roman columns and other fragments were used, since Mons Porphyrites in Egypt had become inaccessible, a fact that further enhanced the rarity and value of works in this material.
The presence in Rome of influential figures such as Cardinal Richelieu introduced to Paris the taste for beautifully carved porphyry, which arguably culminated during the reign of the Sun King Louis XIV. In his residence at Versailles, the Gallery of Mirrors boasts to this day one of the most extraordinary collections of porphyry objects, comprising both vases and busts. Whilst no prototype has been identified for the design of the present pair of vases, the dolphin handles are emblematic of the Grand Dauphin (1661-1711), the son of Louis XIV. The zoomorphic handles follow in the tradition of Roman porphyry vases of the 17 th century, such as the vase carved by Giovanni Battista Pozzi around 1684, now in the Wallace Collection (inv. F362). Another single porphyry vase, featuring a lid surmounted by a dolphin, was recently sold by Sotheby's Paris (16 June 2020, lot 4, EUR 200,000 including buyer's premium).
These vases were almost certainly together as a pair whilst owned by the De Rothschild family in the 19th/20th century, whereafter they were separated, one remaining in the Rothschild collection until the 21st century, whilst the other found its way to an Important Private collection in Switzerland. After purchasing the vases separately, the vases have now been reunited, after decades apart, by Tomasso.
Two further pairs of nearly identical form have been auctioned in the twentieth century at Christie's New York (26 October 1994, lot 108) and at Sotheby's Monaco (14 June 1997, lot 125).
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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3,000 - 5,000 GBP
A CARVED BOXWOOD FIGURE OF A SATYR WITH YOUNG BACCHUS
ITALIAN, 18TH CENTURY
Old inscription to base " Infant Pan Early Italian "
35cm high, base 9.5cm wide
This figural group is a boxwood version of the famous ancient marble Satyr with young Bacchus formerly in the Farnese collection and now in the Museo Nazionale in Naples (inv. 6022). In the 16 th century the statue formed part of the collection of antiquities of the Cesarini, a prominent Roman aristocratic family, who - in a fashion not uncommon at the time - traced their lineage to no less than Julius Caesar (M. de Montaigne, Journal de Voyage en Italie , Paris, 1580-81, pp. 275-276). In 1593 Cardinal Odoardo Farnese acquired the Satyr with young Bacchus from Duke Giuliano IV Cesarini, along with the rest of the collection.
The theme of Bacchus's childhood, spent on the hills of mount Nysa in the company of satyrs and maenads, had enjoyed significant popularity since antiquity, as testified above all by the famous Hermes and the Infant Dionysus group attributed to Praxiteles (4 th century BC, now Archaeological Museum, Olympia, Greece). The present model depicts a satyr playing cymbals whilst the infant Bacchus sits on his shoulders holding a bunch of grapes. This lively scene captures a seminal event in the life of the young god, for this is the moment when he is first introduced to the fruits of the vine. In the ancient world, many different cultures throughout Europe and Asia Minor established cults of Bacchus, centred on festivals such as the Athenian Dionysia and Lenaia, in which musical instruments like the cymbals and panpipe represented here played a key role.
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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8,000 - 12,000 GBP
A LARGE CARVED BOXWOOD ALLEGORICAL REPRESENTATION OF TWO CAPTIVES BOUND IN CHAINS
GERMAN, 17TH/18TH CENTURY
Winged child figure above the captives, naturalistic base
45.5cm high, base 73cm wide
Unique in its iconography, this lively carved boxwood group presents two figures chained to a tree stump, with a winged putto looking over them. The bat-like shape of the latter's wings connotates him as an emissary of the devil, and - as the positioning of his hands and arms suggests - it is likely he originally held a spear or similar instrument to subjugate the captives.
The beard and robes of the man on the left are reminiscent of ancient Roman representations of barbarians - most notably the white marble and porphyry pair from the second century AD now in the Louvre Museum, Paris (MR331 and MR332) - and thus single him out as a pagan, whereas the facial traits and prominent moustache of the man on the right conform to seventeenth-century representations of Ottoman subjects. The figures seated posesvare reminiscent of similar figures on ancient Roman sarcophagi and reliefs. Specific examples include a Roman 2 nd century A.D. sarcophagus with the Triumph of Dionysus in the Fondazione Torlonia and a Roman frieze from the Temple of Sosiano in the collection of the Capitoline Museums at Centrale Montemartini in Rome.
The choice of medium - boxwood - ties into an established Northern European tradition that flourished particularly across Germany and Flanders, and its stylistic traits bear similarities to the work of Leonhard Kern (1588-1662), whose workshop in Schwäbish Hall, in the Southern region of Baden-Württemberg, produced statuettes and small reliefs of high quality in boxwood, fruitwood, ivory, and alabaster.
With CIRAM Radiocarbon Dating Report (0742-OA-1091R) July 2024.
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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A PLASTER BUST OF AUGUSTUS CAESAR
ITALIAN, 19TH CENTURY
63cm high, base 18.5cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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D BRUCCIANI & CO, LONDON- A LARGE PLASTER BUST OF THE HERMES OF PRAXITELES
ENGLISH, 19TH CENTURY
Signed to cast D. BRUCCIANI and with D BRUCCIANI & CO impressed stamp
73cm high
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,000 - 2,000 GBP
A WHITE MARBLE GROUP OF LEDA AND THE SWAN ITALIAN, 18TH CENTURY 33cm high, base 30cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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4,000 - 6,000 GBP
A WHITE MARBLE RELIEF WITH PUTTI AND FESTOON
ITALIAN, CIRCA 1500
29cm high, 79cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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4,000 - 6,000 GBP
ATTRIBUTED TO IGNAZIO (1724-1793) AND FILIPPO COLLINO (1737-1800)- A WHITE MARBLE PORTRAIT HEAD OF A YOUNG NOBLEWOMAN
TURIN, C. 1770
On a Breccia Violetta socle base
47cm high overall, 21cm wide, 19cm deep
Provenance :
Private collection, England.
This bust presents stylistic similarities with the four busts representing Pomona, Ceres, a Naiad and a Nymph, by the brothers Ignazio and Filippo Collino circa 1770 for the Savoy's family luxurious hunting lodge, the Palazzina di Caccia di Stupinigi. When comparing the busts, there's a strong resemblance in the delicate facial features that lend them a serene and graceful presence, and particularly in the lips betraying the slightest smiles. The sculptural detailing and surface texturing of the marble, which contrasts the smooth skin of her face with the undulating strands of hair resting on the shoulders, attest to both the exquisite artistry and the technical skill of the sculptor.
After his initial training in Turin with Claudio Francesco Beaumont (1694-1766) and Francesco Ladatte (1706-1787), Ignazio Collino, the eldest of the two brothers, moved to Rome in 1748. There, he entered the atelier of the sculptor Giovanni Battista Maini (1690-1752), where he devoted himself to the careful study of ancient works and completed several copies which he sent back to Turin. Alongside Greek and Roman statuary, Ignazio became particularly interested in the classical sixteenth-century works. His brother Filippo joined him in 1754 and together they embarked on a period of intense activity, characterised by a series of prestigious commissions such as the four statues and four allegorical bas-reliefs commissioned by King Carlo Emanuele III (1701-1773) for the Galleria Beaumont in the Royal Armoury, Turin. Elected as academicians of merit at the Accademia di San Luca in Rome, the two brothers returned to Turin in 1767 and were appointed directors of the Royal Sculpture Studio, receiving numerous private and public commissions.
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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AFTER PIERRE PUGET (1620-1694) A PLASTER SEATED ÉCORCHÉ FIGURE
19TH CENTURY
Kneeling figure, oval base with impressed inscription CHA**** HAT***
23.5cm high, base 13cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,000 - 1,500 GBP
A WAX HEAD OF A MYTHOLOGICAL GOD
ITALIAN, 19TH/20TH CENTURY
48cm high
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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3,000 - 5,000 GBP
A WHITE MARBLE HIGH RELIEF PORTRAIT OF A BEARDED MAN
ITALIAN, PROBABLY 14TH/15TH CENTURY
Set on modern base
bust 39cm high, 43cm high overall
Condition Report:
Old losses and with restorations notably to nose, eyes, mouth
Condition Report Disclaimer
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,000 - 1,500 GBP
AFTER GIOVANNI BERNARDI- A BRONZE RELIEF PLAQUE DEPICTING PAN AND A FEMALE FIGURE
ATTRIBUTED TO LODOVICO POGLIAGHI, EARLY 20TH CENTURY
The female figure either Syrinx or Venus, possible faint incised initials lower right
44cm high, 31cm wide
For further information with regards two similar plaques by Giovanni Bernardi, please see Medieval & Renaissance Sculpture in the Ashmolean Museum by Jeremy Warren, Volume 3, Plaquettes, Nos. 258 & 259.
Condition Report:
Generally good condition- mild edge wear
Condition Report Disclaimer
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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2,000 - 3,000 GBP
ALFRED STEVENS (1817-1875)- A PAIR OF BRONZE SEATED MALE FIGURES
LATE 19TH CENTURY
Modelled seated opposing, of sinuous athletic form
38.5cm high, bases 24.2cm diameter
These bronzes, inspired by Italian Renaissance form and movement, were originally conceived to decorate firedogs made for Messrs Henry E. Hoole and Co, Sheffield. Plaster versions of the present figures are in the Victoria and Albert Museum, London (No. A.26:1-1911). V&A Link <https://collections.vam.ac.uk/item/O312719/seated-male-figure-panel-stevens-alfred-george/>
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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PETER HONE (B. 1941) PAIR OF PLASTER RELIEFS OF EMPEROR CARACALLA
MODERN
Depicting obverse and reverse side, metal hanging loops to each
each 42cm high
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,000 - 1,500 GBP
AFTER GIAMBOLOGNA (1529-1608) A BRONZE FIGURE OF THE BATHING VENUS
ITALIAN, 19TH CENTURY
Fluted ebonised column base
bronze 23cm high, 33cm high overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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2,000 - 3,000 GBP
AN ITALIAN BRONZE REARING HORSE
19TH CENTURY
Set on a rectangular plinth base
38.5cm high, base 29cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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3,000 - 5,000 GBP
A BRONZE FIGURE OF A PHILOSOPHER
NORTHERN EUROPEAN, 17TH CENTURY
23cm high, base 8.8cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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6,000 - 8,000 GBP
JOHN FRANCIS MOORE (D. 1809) A WHITE MARBLE BUST OF A GENTLEMAN, POSSIBLY THE RT. HON. CHARLES WOLFRAN CORNWALL (1735-1789)
LAST QUARTER OF THE 18TH CENTURY
Signed I:F:Moore, Fect
65cm high, base 24cm diameter
The Rt. Hon. Charles Wolfran Cornwall (1735-1789) was Speaker of the House of Commons from 1780 to 1789 having crossed the floor to join the government in 1774 in support of their opposition to the American Revolution. On his death in 1789, John Moore was commissioned to create his memorial in the chapel of the Hospital of St Cross, Winchester. Perhaps best known today for his full length portrait statue of William Beckford (1709-1770), builder of Fonthill Splendens in Wiltshire ( located in The Guildhall, London), Moore also produced memorials, chimneypieces and a few portrait busts. This example bears close comparison with a watercolour portrait of Cornwall from the series Speakers of the House of Commons (National Portrait Gallery Reference Negative No. 43130). In addition to the present bust, only two other portraits by Moore are known today, that of Sir John Rushout in Worcester Infirmary from 1769, and the one in Spencer House, London, believed to represent William, 2nd Earl of Bessborough, from 1775.
Literature:
I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain 1660-1851, New Haven/ London, 2009, p. 849, no. 55 as an 'Unidentified man in middle age'.).
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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8,000 - 12,000 GBP
AFTER GIOVANNI BATTISTA FOGGINI AND BARTOLOMEO CENNINI- A MARBLE BUST OF FERDINAND DE'MEDICI (1633-1713)
EARLY 18TH CENTURY
On a Siena marble socle
101cm high overall, base 25.5cm wide
Literature:
K. Langedijk, The Portraits of the Medici 15th-18th Centuries, 1983, vol. 3, pp. 797-806 and 969-973
This bust of Ferdinando II de' Medici is related to the bust of the Grand Duke by Bartolomeo Cennini (active 1624-1675) on a keystone in the Santa Maria Nuova, Florence illustrated in Langedijk, p. 800, no. 70 and online here. <https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900190014>
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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6,000 - 8,000 GBP
AFTER GIOVANNI BATTISTA FOGGINI AND BARTOLOMEO CENNINI- A MARBLE BUST OF GIAN GASTONE DE'MEDICI (1671-1737)
EARLY 18TH CENTURY
On a Siena marble socle
100cm high overall, base 25.5cm wide
Literature :
S. Bellesi, Duchi e granduchi meicei in una serie di terrecotte fiorentine del primo Settecento, Florence, 1997
This bust of Gian Gastone de' Medici is very similar in form and detail to a terracotta bust attributed by Sandro Bellesi to the school of Giovanni Battista Foggini (Private collection online link <https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900618121-8#lg=1&slide=0> ).
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A PAIR OF COMPOSITION AND PLASTER BUSTS OF AJAX AND MENELAUS
20TH CENTURY
77cm and 73cm high
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5,000 - 8,000 GBP
WORKSHOP OF MASSIMILIANO SOLDANI-BENZI (1656-1740) A BRONZE FIGURE OF THE CESARINI VENUS
AFTER GIAMBOLOGNA (1529-1608), EARLY/MID 18TH CENTURY
Green marble base
bronze 25cm high , 36cm high overall, base 10cm wide
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A ROMAN BRONZE FIGURE OF HERCULES
1ST/2ND CENTURY A.D.
In contrapposto pose, left arm outstretched possibly holding and apple, marble base
figure 21cm high, 28cm high overall
Condition Report:
Wear and loss to surface- varying levels of green patination, visible join to upper left arm- possibly from manufacture
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Y GIUSEPPE MARIA BONZANIGO (1745-1820) A MICRO-WOOD CARVING OF MUSIC
CIRCA 1800
Carved ivory and wood, in a glazed circular gilt-bronze and enamel frame with central tortoiseshell slip, unsigned
7cm diameter overall
Please note that Dreweatts have applied for a de minimis exemption for this lot ref: LVHNTRJC.
The Turin craftsman Giuseppe Maria Bonzanigo is regarded as one of the foremost exponents of 18th century Italian marquetry and exquisitely detailed wood working alongside Piffetti and Maggiolini. This micro-sculpture in wood, together with lot 138, are excellent examples of the virtuosity of the artist. His work was highly sought after in his time with commissions from the Italian Royal Family, the Savoy and international nobility and Élisabeth Philippe Marie Hélène de France, also known as Madame Élisabeth (1764-1794). He crafted busts, medallions and profiles for these clients and was appointed royal court sculptor by Vittorio Amedeo III in 1787.
Condition Report:
The strings to central instrument lifting- small section of possible repair to slip and small elements of dirt ingress- unexamined out of frame
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A BRONZE BUST OF A MAN
VENETIAN, 16TH/17TH CENTURY
On modern ebonised wood base
bronze 13.5cm high, 17.5cm wide, 22.5cm high overall
Condition Report:
With old wear to surface- some casting faults such as to chin, lead visible to interior- possible patch to reverse of centre front edge and rear right edge. Small edge tears and paler patina wear
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GIUSEPPE MARIA BONZANIGO (1745-1820) A MICRO-WOOD CARVING OF FLOWERS
CIRCA 1800
Carved wood, glazed circular gilt-bronze frame, unsigned
6cm diameter overall
Condition Report:
Generally good condition- darkened surface, case lacks back
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A BRONZE FIGURE OF A REARING HORSE
ITALIAN, 18TH CENTURY
Set on a gilt metal mounted ebonised base
horse 35cm high, 38cm wide, 46.5cm high overall, base 25cm wide
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A PAIR OF BRONZE STATUETTES OF LORENZO AND GIULIANO DE' MEDICI ON HORSEBACK
FLORENTINE, 17TH CENTURY
Lorenzo de' Medici (1449-1492) depicted wearing helmet, right arm aloft, Giuliano de' Medici (1479-1516) with classical cuirass decorated with lion heads on the shoulders, both with finely chased armour and drapery, scagliola inlaid walnut bases
bronzes 21cm and 22cm high, 32.5cm high overall, bases 13cm wide
Provenance :
Private collection, Northern Italy.
Derived from Michelangelo's monumental, seated figures of Lorenzo and Giuliano de' Medici in the New Sacristy in the Basilica of San Lorenzo, Florence, this pair of bronzes portray the two Medici Dukes on horseback. Freshly modelled, the two figures are dressed all'antica, in the classical style of Roman military dress, as they appear in Michelangelo's funerary monument, in which the figures face each other and represent the two ideal human types: the contemplative man (Lorenzo) and the active man (Giuliano).
Cast separately and subsequently attached, Giuliano wears a cuirass ornamented at the shoulders with lion's heads and is portrayed vigorously pulling on the reins, with his head slightly tilted to the right and the gaze fixed downwards. Lorenzo, wearing a casque in the form of a lion's head, is also shown pulling on the reins, with his right hand raised high in the air.
The bronzes present richly variegated tooling, such as the punch marks that articulate Giuliano's cuirass, which, together with the excellence of the cast, are a testament to the splendour and technical superiority of Florentine production at the beginning of the seventeenth century.
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AFTER GIAMBOLOGNA (1529-1608)- A BRONZE FIGURE OF MARS
ITALO-FLEMISH, 17TH CENTURY
On an ebonised wooden base, inset with lapis lazuli panels
figure 38cm high, 53.5cm high overall, base 17.5cm wide
Provenance:
Private collection, Germany.
Exhibited :
BRONZES DE LA RENAISSANCE, Association Royale Des Demeures Historiques De Belgique, Chateau De Laarne September-October 1967. No.73 " Ecole de Jean Boulogne, Hercule Marchant". Pp.110, illustrated page 111.
This bronze depicts a muscular nude male figure striding forward with his right foot, his left arm and hand outstretched, whilst his right hand would have originally held a sword. The bearded head, with the mouth partly open, is sharply turned to the left, whilst the body is represented in a diagonally upward rising movement - the Mannerist figura serpentinata. Designed to be seen in the round, the muscular figure is presented in a carefully calculated, complex stance: by means of the outstretched arms, the striding motion and the emphatic rotation of the upper body, the figure dominates the surrounding space.
Mars , or Gladiator as it was sometimes referred to in the early literature, was one of Giambologna's most popular models. The Flemish artist Jean Boulogne (1529-1608), better known by his Italianised name Giambologna, was the most influential Mannerist sculptor in Europe. Giambologna's first encounter with Italy, his adoptive land, happened in 1550 when the young artist set off to Rome to study the great works of antiquity and the masters of the Renaissance. On his way back home, he stopped in Florence where he enjoyed the patronage of the influential Florentine aristocrat Bernardo Vecchietti (1514-1590). Vecchietti's contacts, together with Giambologna's innate talent, eventually led to his introduction to the ruling Medici Grand Dukes. His first Medicean commission (1560) was the seminal marble group of Samson slaying a Philistine , now in the Victoria & Albert Museum, London (inv. A.7-1954), completed for the future Grand Duke Francesco I (1541-1587), who appointed him as court sculptor a year later in 1561. It was in this decade that Giambologna began producing bronzes, later setting up his workshop and own foundry at Borgo Pinti. His exquisite small bronze statuettes, avidly collected by European connoisseurs and often used by the Medici as diplomatic gifts, disseminated his sophisticated style throughout the courts of Europe.
Further carrying his vocabulary across the Alps were the numerous Northern European pupils who trained in his workshop, most notably Adriaen de Vries (1556-1626), Pierre de Francqueville (1548-1615), Hans Reichle (1570-1642), and Hubert Gerhard (1540-1620). A versatile, innovative and prolific sculptor, who produced extraordinarily varied compositions - from mythological scenes to images of the crucified Christ - Giambologna dominated Florentine sculpture in the second half of the sixteenth-century and had an enormous influence on his contemporaries, one that was re-echoed in the seventeenth century by the later generations.
The most accurately documented example of this composition was given by Giambologna himself to Christian I, Elector of Saxony (1560-1591) (formerly in the collection of Bayer AG, the statuette, known as the ' Dresden Mars ', was acquired by the Staatliche Kunstsammlungen Dresden (SKD) in 2018). The bronze is first documented in the 1587 inventory of the Elector's Dresden Kunstkammer as ' a picture of Mars cast in brass, given by Johan Pollonia [sic] to his Grace the Electo r' - this is the first use of the name Mars. Other remarkable examples include the bronze initialled I.B. (standing for Giambologna's Latin name - Iohannes Bononiensis ) in the collection of the Power Corporation of Canada, Montreal, the cast in the Royal Ontario Museum, Toronto, and The Hohenzollern Mars , sold by Tomasso in 2016.
The quality of the present cast, which displays a meticulous attention to detail and surface texture, together with the brassy alloy of the metal and the distinctive facial features, all point to its production in a North European foundry, probably in Germany or the Netherlands.
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AN ITALIAN BRONZE FIGURE OF THE MATTEI CERES
18TH CENTURY
38cm high, base 12cm wide
Condition Report:
Rubbing to patina as per age and handling and regular cleaning
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2,500 - 4,000 GBP
TWO WHITE MARBLE LAMBS 19TH CENTURY taller 58.5cm high, base 46cm wide, smaller 39.5cm high, base 45cm wide
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1,500 - 2,500 GBP
A LARGE ALABASTER MODEL OF A DEER ITALIAN, CIRCA 1910 65cm high, base 35cm wide
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15,000 - 25,000 GBP
WORKSHOP OF ANTONIO CANOVA (1748-1822) A WHITE MARBLE BUST OF BEATRICE EARLY 19TH CENTURY On a turned marble socle base bust 48cm high, 61cm high overall, base 19.5cm diameter Literature : Gérard Hubert, La sculpture dans l'Italie Napoléonienne, Paris, Editions E. de Boccard, 1964, no.16, p. 474; Giuseppe Pavanello, Mario Praz, L'opera complete del Canova, Milan, Rizzoli, 1976, pp. 122-123; Franca Falletti, Silvestra Biotoletti, Annarita Caputo, Lorenzo Bartolini, scultore del bello naturale, Giunti, Firenze Musei, 2011, pp. 192-193. This bust began life in 1813 as a portrait of the celebrated beauty Juliette Récamier by the greatest neoclassical sculptor Antonio Canova. Canova's original plaster bust did not please Récamier and Canova transformed the portrait into a bust of Beatrice, the muse of the poet Dante Aligheri. This particular version of what the artist called his "testi ideali", became one of his most popular depictions. Canova made two versions in marble: one between 1817 and 1818, with the head covered by a simple veil, which he offered to his biographer Leopoldo Cicognara (1767-1834), and another sculpted in 1822 for the collector Alexander Baring (1774-1848) with the head crowned with an olive branch. Other copies made by Canova himself or by his workshop include the version in the Musée des Beaux-Arts in Lyon (inv. 1292-1), another in the Boston Museum (inv. 2002.318 MFA Boston Link <https://collections.mfa.org/objects/369815> ).
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A WHITE MARBLE FIGURE OF ANDROMEDA TIED TO A ROCK
ITALIAN, CIRCA 1900
71cm high, base 26cm wide, 22cm deep
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1,500 - 2,500 GBP
A LARGE BLACK MARBLE MODEL OF A BEETLE
ITALIAN, CIRCA 1920
approximately 18.5cm high, base 37 by 51.5cm
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A BRONZE FIGURE OF A WARRIOR
ANCIENT ROMAN STYLE, PROBABLY 20TH CENTURY
Bronze with green encrusted verdigris patination, slate base
37.5cm high, base 15.2cm wide
Condition Report:
With deliberate "aged" surface and wear including hole to his left flank, left arm and hand
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A BRONZE STANDING FIGURE OF PAN
ANCIENT ROMAN, 1ST- 3RD CENTURIES
Depicted horned, left hand held up, set on later Perspex base
figure 13cm high, 14cm high overall
Condition Report:
Losses and wear to surface throughout, lacks feet and tail, traces of sea or water deposits
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A PAIR OF REGENCY GILT BRONZE EAGLES EARLY 19TH CENTURY Of opposing form, marble bases 16cm high, bases 7cm wide
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4,000 - 6,000 GBP
JOSEPH GOTT (1786-1860) SLEEPING BACCHANTE
Terracotta
Breccia Africana marble base, signed J GOTT. F T
40cm wide, 28cm high including marble base
The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony.
" Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..."
The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor , exh. cat., Leeds and Liverpool, 1972, p. 56.
The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph , commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930).
The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view.
In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and may be connected to the present terracotta.
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2,000 - 3,000 GBP
AN ITALIAN TERRACOTTA MYTHOLOGICAL SCENE- POSSIBLY MENELAUS AND PATROCLUS
18TH CENTURY
With two warriors and a child, naturalistic base
36.5cm high, base 14.5cm
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AN ITALIAN BRONZE FIGURE OF AESCHINES (290 - C.314 B.C)
18TH CENTURY
The philosopher depicted standing, rectangular base
29.5cm high, base 11cm wide
Condition Report:
Some rubbing and wear to patina on exposed areas of anatomy and edges, base marks and scuffs, possibly had remedial strengthening to joint between figure and use- visible to underside
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3,000 - 5,000 GBP
AFTER ALESSANDRO ALGARDI (1595-1654) TWO BRONZE FLAGELLATORS
LATE 17TH/EARLY 18TH CENTURY
Set on black swept slate bases
taller 25cm high overall, bases 11cm wide
Condition Report:
With wear and paler patina to exposed areas of anatomy from handling, age and cleaning. Both with greyer patches to reverse of one leg- flooding from manufacture. Lacking scourges
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1,000 - 1,500 GBP
JOSEPH GOTT (1786-1860) SLEEPING NYMPH
Terracotta
Signed and dated J. GOTT. 1826
6.5cm high, 22cm wide, 7.4cm deep
Provenance
Harold Julian Amery, Baron Amery of Lustleigh, PC (1919-1996), United Kingdom.
The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony.
" Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..."
The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor , exh. cat., Leeds and Liverpool, 1972, p. 56.
The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph , commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930).
The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view.
In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and must have been connected to the present terracotta, dated the same year. Two years before, Gott had made a small terracotta Sleeping Venus for his mentor, Sir Thomas Lawrence, which likely resembled the present composition.
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10,000 - 15,000 GBP
A WHITE MARBLE FIGURE OF EROS
ITALIAN, 18TH CENTURY
Set on a Giallo marble mounted grey marble base
84cm high, base 23cm wide
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λ  PETER KING (1928-1957) FEMALE FIGURE Carved elm 1948 71cm high, base 30cm wide Provenance : The artist's estate Peter King was an exceptional young sculptor and assistant to Henry Moore. In 1953 he began to teach at the prestigious Central St. Martin's School of Art, in London, alongside Anthony Caro, Eduardo Paolozzi and Elizabeth Frink. Unfortunately, he died in 1957 at the age of just 29 and his work is all but unknown today despite his exceptional talent and the fact he was a key part of the post-war school of Modern British sculpture associated with Moore's studio and with artists living at the Abbey Art Centre in London, and also with Victor Musgrave's Gallery One in Soho. King was primarily a sculptor, one who was fascinated by the possibilities of diverse techniques and therefore made sculpture in bronze, lead, cement, aluminium and silver as well as producing a film and a large number of drawings, monotypes and gouaches. However, his large, curvaceous, polished wood carvings remain King's signature pieces. King's work eloquently explores similar themes to many of his 'modernist' mentors and contemporaries like Henry Moore and Germaine Richier. For in the most sensitive and subtle way his work expresses the doubts, fears and concern with humanity that so dominated the collective consciousness of the western world, throughout the twentieth century. His work is also fundamentally inspired by the sculptural beauty of the human body. Therefore, despite his obvious modernity, it can be strongly argued that King was also working within the classical tradition. Literature : De Berthoud, Roger, The Life of Henry Moore, London: Giles de la Mare Publishers, 2003, p. 303.Wedd, Kit, et al, Creative Quarters - The Art World in London from 1700 to 2000, (Museum of London) London: Merrell, 2001, p. 135. Mitchinson, David, et al, Hoglands - The Home of Henry and Irina Moore, Aldershot: Lund Humphries, 2007, pp. 73, 77, 90. Curtis, Penelope, et al, Sculpture in 20th-century Britain Vol 2, Leeds: Henry Moore Institute, 2003, essay by Martin Harrison, pp. 191-193. Barker, Ian, Anthony Caro - Quest for the New Sculpture, Kunzelsau: Swiridoff Verlag, 2004, p. 59 Condition Report: λ
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AFTER GIAMBOLOGNA (1529-1608) A BRONZE FIGURE OF THE FLYING MERCURY
ITALIAN, 18TH CENTURY
On marble base
bronze 23cm high, 30cm high overall, base 5cm wide
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A ROMAN CARVED MARBLE PEDESTAL
1ST/2ND CENTURY A.D. AND LATER
Fragment of drapery section, now incorporated as a pedestal, variegated green marble base within white marble frame
fragment 56.5cm high, 78.5cm high overall, top 29.5cm by 27cm
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ATTRIBUTED TO PIERRE AMÉDÉE MARCEL-BÉRONNEAU (FRENCH 1869-1937)- A BRONZE FIGURE OF THE DEAD CHRIST
EARLY 20TH CENTURY
13cm high, base 36cm wide, 14cm deep
For an almost identical version of this work please see The Frick Collection photo archive, unidentified photographic source 58252 Frick Art Reference Library, New York. This records an example which at one time, prior to July 1990, was with M.R. Schweitzer, dealer, New York. Online link here. <https://digitalcollections.frick.org/digico/?&_ga=2.239675587.1123930943.1661883654-1090155119.1661882013#/>
Condition Report:
Some mild rubbing and wear to patina on exposed areas of anatomy and edges, slightly dirty to recesses, base with wear- notably to one corner
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A BOXWOOD CRISTO MORTO
FLEMISH, 17TH/18TH CENTURY
49cm high, 29cm wide
Condition Report:
With holes and mounting points, some splicing from construction- repairs to shoulders, right knee
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225
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AFTER THE ANTIQUE- A BRONZE PORTRAIT BUST OF SCIPIO AFRICANUS (237-183 B.C)
ITALIAN, 18TH CENTURY
Of lifesize proportions, set on a white marble socle
45cm high overall, base 21cm diameter
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A BOXWOOD CRISTO MORTO ITALIAN, 17TH CENTURY On later ebonised wood cross 45.5cm high, 26.5cm wide overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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