Signed Tom Clark Bronze Bust King David: Signed Tom Clark Bronze Bust King David Condition Please Email for a detailed condition report.
COPPERFIELD, DAVID. The Magic of David Copperfield. American, 1984. Illustrative bust portrait of the most successful magician of all time, his hands outstretched with a burst of light appearing between them. The same artwork was used in a successful advertising campaign for Kodak featuring Copperfield as the spokesperson. 17 x 36". A-. Unmounted.
CAST STONE GARDEN STATUARY, BUST OF DAVID, 16.5"HCast stone garden decor, Bust of David, 20thc., after the original 16th c. sculpture by Michelangelo, approx 16.5"h, 11.5"w, 11"d
A CAST IRON SHIELD AFTER BENVENUTO CELLINI'S PARADE SHIELD OF FRANCESCO I DE MEDICI, LAUSCHHAMMER, GERMANY, CIRCA 1880, : A CAST IRON SHIELD AFTER BENVENUTO CELLINI'S PARADE SHIELD OF FRANCESCO I DE MEDICI, LAUSCHHAMMER, GERMANY, CIRCA 1880, the teardrop shape patinated cast iron shield with Medusa head at center flanked to the left with a profile bust of Francesco I de Medici and to the right with a profile bust of his mistress and second wife Bianca Capello, at the top a representation of David slaying Goliath, and at the bottom Judith with the head of Holofernes, surrounded by allegorical figures on strapwork ground within beaded border. NOTE: The original shield upon which this piece is based was made for Francesco I de Medici (1541-1587) after a design by the great Florentine Renaissance sculptor and goldsmith Benvenuto Cellini (1500-1587). Made around 1570, together with a matching crested helmet (or Morion), the original shield was produced in chased and silver plated iron. Both the shield and morion are preserved in the collections of the Staatliche Kunstsammlungen in Dresden, Germany. Height: 29 1/2" Width: 18 3/4"
Four Bronze Figures, early 20th century, a figure of a standing woman with a mandolin, incised "Gaudez," ht. 16 1/2; a bust of a young boy, reverse incised "Fri------- & Oppermann Berlin," ht. 10 1/2; figure of David after Verrocchio mounted to a rouge marble base, bronze ht. 7 7/8; and a bust of Napoleon, ht. 8 1/4 in. Estimate $600-800 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
ARONSON, David. Bronze Bust of a Man. Signed on back and inscribed 5/12. From an East 79th St NYC estate. Dimensions: bust-13"h base-6"h
A Sevres Style Bisque Porcelain Bust of Marie Antoinette: A Sevres Style Bisque Porcelain Bust of Marie Antoinette. Late 19th/Early 20th Century. bearing spurious interlaced Ls enclosing an F and signed Vavasseur. Height 28 1/2 inches. Property from the Estate of Norma and David McIntyre, Los Angeles, California. Condition . For condition inquiries please contact fdcr@hindmanauctions. com
AUSTIN PRODUCTIONS "DAVID" BUST CERAMIC REPLICA Austin Productions "David" bust sculpture cast ceramic replica on a tiered round pedestal, marked "Austin Prod. Inc. 1984" to underside. 16.5" H x 6.5" diameter.
1 vol. (Cosway Binding) Dickens. Charles. The Personal History of David Copperfield. London: Bradbury & Evans. 1850. First Edition in book form. first state. 8vo. 20th century full crushed gilt paneled & decorated burgundy levant morocco. gilt spine compartments. turn-ins gilt. a. e. g. red silked doublures and endpapers. raised bands. ivory miniature bust portrait of Dickens sunk in center of front cover. by Baynton; very occasionally. very slightly scuffed. With 40 plates by H. K. Brown - incl. frontis. & additional vignette. Internally crisp and clean. With Charles Dickens autograph letter signed. Devonshire Terrace. Feb 8. 1850 [date of book form pub. of David Copperfield] 1p. 12mo. to Mrs. Howitt. "Let me thank you for the utmost cordiality of your kind note. . . " Clean & bold. In custom red cloth slipcase.
Italian carved marble bust late 19th century DAVID Carrara marble unsigned H13 1/2'' W9'' Provenance: Tybee Island Georgia private collection. Condition: Inherent stress cracks on body; missing pin to attach bust to base. Back   Inquiry    Previous Item  Next Item © Charlton Hall Auctions. Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678   © 2012 CHARLTON HALL GALLERIES INC.
CERAMIC BUST, DAVID GILHOOLY III (1943-2013), "FROG VIC...Large ceramic portrait bust, "Frog Victoria" by David Gilhooly III (1943-2013). Depicts a frog version of Queen Victoria on a pedestal. Signed at base of figure, "82 / Gilhooly". Dimensions: 19"h. Gilhooly is known as one of the founders of the Bay Area Funk Movement. He began his career as an assistant to Robert Arneson at TB-9 at UC Davis. This group of sculptors were known for poking fun at traditional art and culture. Gilhooly created a fanciful whimsical world of frogs. For shipping quote, please contact Box Brothers Sacramento at boxbrosacto@gmail.com.
Condition:
Very good. Witherells strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition: statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherells. All lots are sold "AS IS" under the Terms & Condition: s.
? ATTRIBUTED TO THOMAS POOLEY (IRISH 1646-1723)
HALF LENGTH PORTRAIT OF JONATHAN SWIFT AS A STUDENT IN DUBLIN COLLEGE With later inscription, feigned oval, oil on canvas71cm x 58cm (28in x 22.75in)Provenance (supporting documents sold with the lot):1) Thomas Percy (1729-1811), Bishop of Dromore; acquired by him in 1801 from Anthony Trail or Traill (1755-1831) of Mount Druid, Ballycastle, later Archdeacon of Connor, who in two letters to Percy (27 April and 5 May 1801) describes his own acquisition of the work c.1790 from 'Gonne, a carver and gilder in Abbey Street', evidently the Henry Gonne (fl.1765-99) who is recorded as a carver and looking-glass seller at 26 Abbey Street, Dublin (Glin & Peill, Irish Furniture, 2007, p. 293):‘An old family mansion house in the Co of Louth was about to be pull’d down, previous to the erection of a new one, and all the pictures in it were sent up to Dublin to be sold, as the proprietor did not chuse to be at the expence of new frames for them, and thought they would be unsuitable ornaments for a new house in their old black ones. Not chusing to sell them separately, I was oblig’d to purchase the whole in order to get three or four of them that I lik’d. The account given me of the Dean’s picture was as follows – He had been while at college an intimate companion of the young gentlemen of the above family, and frequently spent his vacations with them in the country. During one of these visits a painter was employed to paint some portraits in the family, and the Dean’s was painted along the rest, and had remain’d in the house ever since. As no particular value was set upon the picture, and as I had express’d no particular desire of purchasing it, it is improbable that such a story should have been told me, if it had not been true. I am sorry however that I have forgot the name of the family, but it has escap’d my memory.'Thence by descent to:2) Mr Edward Richard Meade (1805-1890) of 5 Gloucester Place, Portman Square, London, the picture with him by 1867, when exhibited at South Kensington (see below). Meade was the grandson of Thomas Percy by the marriage of Percy’s daughter Elizabeth to Pierce Meade (1776-?), Archdeacon of Dromore (John Sharpe, Peerage of the British Empire, [1833], volume I, f. 2A6 v.).3) Miss Constance Meade (1852-1941), of 15 Eaton Terrace, Knightsbridge, London, daughter of Edward Richard Meade.4) Mr Kenneth George Francis Balfour (1909-1998), of Quoitings, Marlow, Buckinghamshire, nephew of Constance Meade.5) Mrs Virginia Cardwell Moore, of Coupar Angus, Perthshire.Exhibited:1) South Kensington Museum, Second Special Exhibition of National Portraits commencing with the Reign of William and Mary and ending the Year 1800, 1867. (Catalogue no. 139, described as 'Jonathan Swift, D.D., Dean of St Patrick's ... Bust. as a young man in student's black gown, when a student at Trin. Coll. Dublin', owner recorded as Mr. E. Meade, a copy of the catalogue with presentation plate to Meade sold with the lot, q. v.).2) Exhibition Palace, Dublin, Exhibition of Arts, Industries and Manufactures, 1872.3) National Library of Ireland, Fair Liberty! was all his cry: Jonathan Swift and his Contemporaries, 1999.Published:A Series of Historical Portraits Selected from the National Portrait Exhibitions at South Kensington: Photographed from the Original Paintings (London, [1867]) (plate 139).The Prose Works of Jonathan Swift, D. D., edited by Temple Scott (London, 1911) (frontispiece).Bruce Arnold, Swift: An Illustrated Life (Dublin, 1999) (cover illustration).Literature:David Woolley, ‘Miscellanea in Two Parts: I. An Autograph, II. A Portrait’, Swift Studies, 8 (1993), 94-99.Jane Fenlon, ‘More about the Portrait of Jonathan Swift when a Student at Trinity College, Dublin’, Swift Studies, 15 (2000), pp. 33-38.David Woolley, ‘A Rejoinder from the Author of The Doubtful Portrait, etc.’, Swift Studies, 15 (2000), pp. 39-41.Joseph McMinn, Jonathan Swift and the Arts (Newark, DL: University of Delaware Press, 2010), p. 168 n. 7.Supporting documents:Full information available on request.Note: The earliest supposed likeness of one of the greatest writers in English, and the embodiment of the elusiveness or otherwise of the historical Swift, this remarkable portrait comes to market by direct descent from Thomas Percy, Bishop of Dromore, who acquired it in 1801 as ‘a small portrait of Dean Swift’, and is now offered for sale for the first time in 200 years, with documented provenance to the late 18th century.First exhibited at South Kensington in 1867, for the next century it drifted in and out of public view. In 1898 Leslie Stephen, writing in the Dictionary of National Biography, declared that ‘the present whereabouts of this portrait is unknown’. It reappeared c.1967 in the collection of a descendant of Percy’s and came to the attention of Swift scholars, at which point there first emerged an attribution to Thomas Pooley which is now current: ‘A portrait thought to be of the young Jonathan Swift, c.1682, is clear and direct in Pooley's early manner. The attribution is probable because the Pooley family married into the Swift family’ (Dictionary of Irish Biography).The attribution to Pooley, and the longstanding identification of Swift as the subject, were on the occasion of the portrait’s exhibition at the National Library of Ireland in 1999 advanced by Bruce Arnold in support of the theory that Swift was in fact the illegitimate son of his benefactor Sir John Temple (1600-1677), master of the rolls in Ireland, and hence a more likely candidate for such a sumptuous likeness. Originally developed by Denis Johnston (In Search of Swift, 1959), this theory has been used to explain otherwise intractable ambiguities in Swift’s relationships with the two most important women in his life, firstly ‘Stella’ (Esther Johnson), who on this view is supposed to have been the daughter of William Temple and therefore Swift’s niece, and ‘Vanessa’ (Hester Vanhomrigh).Writing in 1993, David Woolley (q.v.), editor of The Correspondence of Jonathan Swift (5 vols, 1999-2014), presented several arguments against Swift’s being the subject of the portrait, chiefly that ‘The dress style is of c.1710. By this time, however, Swift was into his forties’, and that ‘The portrait style is of the school of Kneller. When Swift graduated, in the reign of James II, the dominant portrait style was still of the school of Sir Peter Lely’.In 2000, art historian Jane Fenlon noted that Woolley had only seen the painting in reproduction, that his analysis contained no reference to the attribution to Thomas Pooley, who had various connections to Swift, and that the sitter’s costume is similar to known examples of academic dress from the late 17th century:‘The portrait in question has a long-standing attribution to the painter Thomas Pooley. The attribution is sound in that the style and manner of painting compare well with other portraits by the artist. The age of the sitter, between fifteen and nineteen years, is appropriate for the years 1682-86, the time spent by Jonathan Swift at Trinity College, Dublin. The costume worn by the sitter would also seem to be appropriate to the period in question. Social and familial links have been established between the painter and the sitter. In art-historical terms, after such close examination of the evidence, a portrait with a long-standing provenance and attribution such as this one has a sound basis for acceptance’.In a brief response to Fenlon’s article (published in the same volume of Swift Studies) Woolley reiterated a few of his original arguments while conceding the strength of ‘the Pooley connection’.‘His life and works continue to vex as well as instruct and amuse his readers … Rumours and legends about Swift's parentage, alleged marriage, misanthropy, and madness started early and developed freely, not least during the Victorian period … His work has provoked strong responses from each generation of readers, and he is one of those writers whose effect on our minds and imagination will not go away. In the words of a fellow Irishman, who also believed that Swift was the founding figure in Irish political nationalism, “Swift haunts me; he is always just around the next corner” (W. B. Yeats)’ (Clive Probyn in ODNB)
EDGARDO SIMONE, (ITALIAN/AMERICAN, 1890-1948), THE KISS, PATINATED PLASTER CASTING SCULPTURE FOR KISSING NUDES FOUNTAIN SCULPTURE, 19"H X 19"W X 11"D.Edgardo Simone, (Italian/American, 1890-1948) The Kiss, patinated plaster casting sculpture for kissing nudes fountain sculpture signed to top of base. From the archives of AskArt: Classically trained in Italy at the Beaux Arts Academy in Rome from 1906 to 1913, Edgardo Simone became a famous sculptor in Italy and the United States using mediums of terracotta, ceramic, bronze, and plaster. He earned a Doctorate of Design and Sculpture at the Academy and then emigrated to the United States where he worked in New York, Chicago and southern California. His style was influenced by Art Nouveau, Art Deco and other modernist influences. In Italy he had received three times the Croix de Guerre and was decorated by King Victor Emmanuel II and Queen Margherita. Before moving to America, he had much recognition in Italy. He had created war, funeral and city monuments in twenty-six Italian cities. When he arrived in New York City, one of the newspapers carried a headline: "Italy's greatest Sculptor Arrives in New York." In New York, Simone became prominent in society and did many portrait busts including of Thomas Edison, John J. Pershing, Henry Ford and Louis Brandeis. Sally Rand, the famous fan dancer of Chicago's World's Fair in 1933-1934, sat as a model in his studio as did President Franklin Roosevlet and author Theodore Dreiser. In 1940, he married composer Radie Britain (1897-1994) in Arizona, and five years later, she became the first woman to receive the Julliard Publication Award for a composition she dedicated to Charles Lindberg and his historic flight across the ocean to Paris. After the marriage, the couple moved to Coronado, California where Simone crafted works for Franciscan missions. In the 1940s, they moved to Los Angeles, and he worked at MGM Studios doing busts of Hollywood celebrities such as Marlene Dietrich and David Niven. He also did a full-sized depiction of Jesus Christ for an alter scene in the movie, The Song of Bernadette and a ceramic piece modeled by the wife of illustrator Howard Christy. Edgardo Simone died in Hollywood in 1948. Source: Antiques and The Arts Weekly, November 25, 2005, p. 25 patinated plaster casting sculpture for kissing nudes fountain sculpture Dimensions: 19"H x 19"W x 11"D.
Nine "Napoleon" themed pieces of decorative arts, including: two 19th C. watercolor miniature portraits on bone/ivory in matching round frames with ribbon motif, one Napoleon and one Josephine, both signed at left "Petit", ss: 2" diam.; snuff box with inset of Napoleon on lid; small bronze plaque of standing Napoleon, "M. Delannoy, D'apres Isabey" inscribed LL; round gold tone bust in marble block, signed "E.D." left; and four Napoleon busts, three are three dimensional, one on pedestal base, signed "RB sculpt", the largest 7" h., and one in relief on bronze, signed "David" left, 2 3/4" h., all pieces with wear consistent with age and use including light wear to surface and minor damages.
6103 - Aronson, "False Messiah", Bronze Bust
David Aronson (Lithuanian/American b.1923), bronze bust on stone base, signed with foundry mark, editioned 5/12, acquired through David Ashville Galleries by way of Manhattan showplace, authenticated by Boston gallery who previously represented Aronson, with nice patination using blow-torch technique, with exhibition catalog from David Findlay Jr. Gallery and copy of page showing sculpture from Louis Newman Galleries. Provenance: Peabody, MA collector.
Devant, David (David Wighton). David Devant. Royal Magician and Shadowgraphist. London: Canning & Co, ca. 1885. Early poster for the man who would become England’s best-known and best-loved stage magician, and managing partner of Maskelyne’s magic business. In this poster, a medallion bust portrait of Devant at the apex of the design is complemented by scenes of him producing a rabbit from a hat, tricks with cards, and various hand shadows Devant was known for producing. 21 x 32". Outer margins and portions of poster expertly recreated; sold as-is. Scarce.
Continental school (20th century) PORTRAIT BUST OF DAVID
carved marble, on cast-stone pedestal
bust 26" overall H50"
Provenance: Collection from Sea Island, Georgia.
ANTIQUE MARBLE BUST BY RUXTHIEL Antique and well carved marble bust by Henri-Joseph Ruxthiel (French, 1775-1837), student of Houdon and David; depicting Jean-Francois Dieudone's (of the Belgian Simonis Family) wife/niece, Marie-Agnes de Grand'Ry; with dressed hair curling in front and back, and wearing a Grecian-style dress, classically draped in the Empire taste, set on a plinth, Circa 1830; H: approx. 27"; Provenance: Simonis Family by direct commission of the artist
Washington Litho plus 2 Books- Washington and Lafayette: Kurz and Allison George Washington Lithograph and Two (2) Biographies: Washington and Lafayette. 1st item: Kurz and Allison lithographed bust-length portrait of President George Washington. Later parcel gilt stained frame. Sight - 24 1/4" H x 18 1/2" W. Framed - 34 1/2" H x 28 1/2" W. 2nd item: THE LIFE OF GEORGE WASHINGTON by David Ramsay, M. D. , published by D. Mallory & Co. , 2nd edition, 371 pages including appendix, 1811. Brown leather and cardboard books bound with "criss-cross" thread pattern along each side of spine decorated with gilt horizontal lines and red leather with title. 7 1/4" H x 4 1/2" W x 1 3/8" D. 3rd item: MEMOIRS OF GENERAL LA FAYETTE, published by Russell Robbins, 455 pages with appendix, 1825. Brown leather and cardboard bound book, spine decorated with gilt bands of Greek keys and floral patterns. Lithographic image of Lafayette on frontispiece, signed "Lafayette" in stone, bottom center. Inscribed "David M. Harding State of Tennessee. Davidson County" in pencil, first page, list of amounts of colors, in pencil, second page. 7 1/4" H x 4 3/8" W x 1 7/8" D. Provenance: the estate of Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www. caseantiques. com) Condition 1st item: 1 1/3" spot of discoloration lower left, line of discoloration across center, couple other spots of foxing. 2nd item: Book in fragile condition. Worn covers, leather missing, top and bottom corners of front cover, 1/2" section, top right of back cover. Leather on spine cracked, missing, top and bottom. Thread from binding missing, crumbling. Severe foxing spots, water damage, on majority of pages. 3rd item: Some white staining on front cover. Leather on spine cracked. Worn around spine and edges of covers. Severe foxing spots on majority of pages, white stains, top right edge of first few pages.
DAVID SPELLERBERG: "DUSTY"patinated bronze, signed and dated in casting "David L. Spellerberg 2010" and numbered 1/1, depicting the head of a golden retriever, mounted to a green stone plinth Provenance: The Estate of Barron Hilton the bust: 13 inches high Condition:
ENGLISH CREAMWARE BLACK TRANSFER-PRINTED JUG, PROBABLY DAVENPORT, CIRCA 1815-18.
Printed on one side with a portrait bust depicting Oliver Perry, the stern of a frigate to the left and a cannon and flags to the right, beneath the inscription "PERRY" and above naval trophies including a powder keg and a sword, and on the other side a portrait bust depicting Isaac Hull, a flag, sword and battle trophies to the left and a frigate on the right, beneath the inscription "CAPTAIN HULL," above telescopes and a musket with fixed bayonet, a black leaftip on the handle and the whole banded in black. Height 6 inches.
Literature:
Both prints probably Davenport transfers based on identical prints found on impressed examples. See David and Linda Arman, "Anglo-American Ceramics, Part I, p. 149, fig. P. 20b and p. 108, figs. H. 21a and b.
A GROUP OF EIGHT NAPOLEONIC AND OTHER ASSORTED DESKTOP ...A GROUP OF EIGHT NAPOLEONIC AND OTHER ASSORTED DESKTOP OBJECTS, 19TH AND 20TH CENTURIES, comprising a burled walnut pipe carved as the bust of Napoleon and mounted with faux horn stemmed mouthpiece, length: 6 1/2", together with a custom carved wood stand by Decatur Industries; a domed transparent glass paperweight enclosing a silver metal medallion depicting a profile portrait bust titled "NAPOLEON I," signed L/L with monogram and mounted on green felt background, verso covered in marbleized paper backing, height: 1 1/2", diameter: 3 1/2"; a domed transparent glass paperweight enclosing a silvered metal/pewter pendant, modeled as a spread-winged eagle centering a profile portrait bust of Napoleon with an arched crest background partially revealing a radiating "N I," mounted on a deep blue marbleized paper background, height: 1 1/2", diameter: 3 1/2"; a French commemorative gilt brass and burlwood snuff box, honoring Napoleon I and of circular form centering a repoussé panel reproducing Jacques-Louis David's "Napoleon Crossing the Alps," and titled below PASSAGE DU MONT ST. BERNARD," height: 3/4", diameter: 2 5/8"; a French modern "Bonaparte Pack," boxed deck of Napoleon Bonaparte and his family playing cards, by Éditions J.C. Dusserre, Paris, reproduced from 1858 original; a William Maple & Sons brass mounted and rolled steel conical lighter fluid can, by Hibernia Works, Sheffield, England, brass labeled, height: 3 1/4"; a cylindrical brass lighter with conforming removable top revealing a disc igniter thumbpiece and a cotton cord wick, verso threaded base opening to an interior with a woolen fluid ball, height: 3 1/4"; a WW I German iron shell fragment mounted on mahogany base as a paperweight, above two plaques engraved with "PIECE OF GERMAN SHELL FOUND AT WHITBY 16-12-14," and "E.G. FROM P.H.C.," flanking an inset 1914 English one penny copper coin, length: 8". (8)
Condition:
Each in good used condition and the burlwood pipe has a blackened bowl, some minor nicks, and normal light wear, with Decatur, stand in good condition. Both glass paperweights with metal pendants have normal wear on glass, and interior pendants have some tarnished spots, small scratches, light wear, and marbleized paper has some small tears and is dry. Burlwood snuff box has surface buildup, tiny nicks, small scratches, and expected general wear. The Bonaparte playing cards are in good shape and their box is good with some light edge wear. The lighter fluid can has expected wear and some tiny spots of surface rust. The lighter has expected wear, a lead repair on the underside of the base, and the disc igniter doesn't work. The iron shell paperweight has obvious rust, buildup, and engraved plaques are dry, yellowing, nicks, and surface buildup, while the wood base has normal light wear, some scratches, and dings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
CLASSICAL STYLE CAST STONE BUST OF DAVID, H: 24 INClassical Style Cast Stone Bust of David,, Dimensions: H: 24 in
DAVID SPENCE, BRONZE BUST OF WASHINGTON HEIGHT: 11 3/4 IN. (29.8 CM.)DAVID SPENCE, BRONZE BUST OF WASHINGTON, inscribed David Spence 21/1,000 with foundry mark Dimensions: Height: 11 3/4 in. (29.8 cm.) Provenance: Charleston, S.C., Museum House
TERRA COTTA BUST OF DAVID: 16'' h., age unknown, affixed to marble plinth, 22'' overall.CONDITION: Small repair to bottom of bust.
Five Grand Tour Items, Continental, 19th century, two with applied verdigris finish: Pan with flute, ht. 9 3/8, Zeus candle holder, ht. 11 1/8; a figure of David after Michelangelo, ht. 9 1/4; a model of the Temple of Castor and Pollux, ht. 5 3/8; and a marble bust, inscribed "Psiche" on base, ht. 8 3/8 in. Estimate $500-700 Model of Temple has small chip to marble base; "Psiche" has evidence of repair at socle, surface abrasions, remnant of old label on back of shoulder; Pan has light surface abrasions; David with small nicks to arm and hand, light surface wear; Zeus candleholder has surface wear. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Bronze Bust of David: Bronze Bust of David. Good condition. 16. 5" h x 9. 25" w. x 10. 62" depth.
NINE "NAPOLEON" THEMED PIECES OF DECORATIVE ARTS, INCLUDING: TWO 19TH C. WATERCOLOR MINIATURE PORTRAITS ON BONE/IVORY IN MATCHING RO...Nine "Napoleon" themed pieces of decorative arts, including: two 19th C. watercolor miniature portraits on bone/ivory in matching round frames with ribbon motif, one Napoleon and one Josephine, both signed at left "Petit", ss: 2" diam.; snuff box with inset of Napoleon on lid; small bronze plaque of standing Napoleon, "M. Delannoy, D'apres Isabey" inscribed LL; round gold tone bust in marble block, signed "E.D." left; and four Napoleon busts, three are three dimensional, one on pedestal base, signed "RB sculpt", the largest 7" h., and one in relief on bronze, signed "David" left, 2 3/4" h., all pieces with wear consistent with age and use including light wear to surface and minor damages.
SCRIMSHAW WHALE'S TOOTH WITH FOREIGN IMAGES MID-19TH CENTURY LENGTH 7.25".SCRIMSHAW WHALE'S TOOTH WITH FOREIGN IMAGES, Mid-19th Century, Obverse depicts a bust portrait of a man with a tattooed face, believed to be Maori. Reverse depicts an American-flagged ship passing a lighthouse and approaching a port where a flag emblazoned with a crescent flies from one of two fortresses that flank the mouth of the inner harbor. The harbor coastline is lined with assorted buildings, and several hills and mountains are visible in the distance. Rich patina. Dimensions: Length 7.25". Provenance: Notes:The bust portrait is similar to one on a scrimshaw whale's tooth illustrated in Ingenious Contrivances, Curiously Carved, by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 8:22a, which bears the title "A New Zealand Chief".
ANTIQUE MARBLE BUST BY RUXTHIEL Antique and well carved, marble bust by Henri-Joseph Ruxthiel (French, 1775-1837, student of Houdon and David); depicting Jean-Francois Dieudone known as Yvan Simonis, of the Belgian Simonis Family; with curling locks and side burns in the Empire taste, and with high collar and tied cravat, wearing vest and jacket and set on a plinth, Circa 1830; H: approx. 28"; Provenance: Simonis Family by direct commission of the artist
Vintage large porcelain bust of a Jewish woman praying called YENTA by Edward J. Rohn. Limited edition #28/100 and measures about 11.5" tall by 10" wide. Copyright 1978 and hallmarked on the back of the bust. Item is an excellent condition with no chips cracks or repairs. It comes on a wooden base and is quite heavy and large. Bust includes a 12k gold filled Star of David pendant necklace. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
Eight Ancient-style Objects, seven earthenware: a votive plaque of the goddess Astarte, ht. 5 1/4, Tell Halaf-style mother goddess figure, ht. 3 1/4, Egyptian-style faience amulet of Isis and Horus, ht. 2 1/4, seated figure with object in hands, ht. 4 3/4, bust of a figure with conical head, ht. 4 1/4, flask with flat sides impressed with geometric decoration and Star of David, ht. 12, and dolphin with remnants of pink glaze, lg. 6 3/4; and dagger with encrusted metal blade, modern wood handle, and stone pommel, lg. 18 1/2 in. Estimate $1,000-1,500 Faience amulet with small reglued breaks to base. Star of David flask with rim chip. All with wear and small chips. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
13 pieces. Medals - American Subjects - U. S. Presidents & C "Dwight David Eisenhower. " Bronze, 70 mm. OBV Bust of Eisenhower left, by W. Hancock REV "In Appreciation. Dwight D. Eisenhower D-Day Plus 20 Years. " * Medallic Art Co. of N. Y. "Silver Jubilee of The Inauguration. President Dwight D. Eisenhower. 1953-1978. " Bronze, 76 mm. OBV legend surrounding bust portrait of Eisenhower left REV "The Quest for Peace. . . Geneva Conference Address 1955. " With accompanying info leaflet. * "President John F. Kennedy. " Bronze, 43 mm. OBV Bust portrait of Kennedy facing REV Presidential seal, "With Appreciation John F. Kennedy. " In orig. sealed plastic sleeve. * "John F. Kennedy. " Bronze, 75 mm. OBV Bust of Kennedy left, by Gilroy Roberts, 1961 REV Torches flanking Presidential seal above legend "We Shall Bear Any Burden. . . Jan. 20, 1961. " * Another version of the above, bronze, 33 mm. In orig. sealed U. S. Mint plastic envelope, with accompanying material from Hofstra University, 1985. * "John Fitzgerald Kennedy. " Medallic Art Co. of N. Y. Bronze, 69 mm. OBV Bust portrait of Kennedy left, by Paul Manship, 1961 REV Presidential seal with "President of The United States of America. Inaugurated January 20th, 1961. " * "Lyndon B. Johnson. " Medallic Art Co. of N. Y. , bronze, 31 mm. OBV Bust portrait of Johnson facing, by Ralph J. Merconi, 1964 REV "36th President of The United States. November 22, 1963" surrounding Presidential seal. In orig. case. * "Lyndon B. Johnson. " Bronze, 75 mm. OBV Bust portrait of Johnson left, by Gilroy Roberts, 1964 REV "President of The United States. 'We Shall serve all the nation. . . '," surrounding the Presidential seal. In orig. sealed plastic bag & box. * Medallic Art Co. of N. Y. "Omar Nelson Bradley. General of The Army. " Bronze, 75 mm. OBV Bust portrait of Bradley 3/4 facing REV 5 stars & olive branch surrounding "25th Anniversary VE Day May 6, 1970. Dedication of Omar N. Bradley Museum. " * "United States of America. United Mexican States. " Silver, 38 mm. OBV Crossed Mexican & American flags REV "Lyndon B. Johnson. Chamizal. Adolfo Lopez Mateos. September 25, 1964. " Toning along rim. In orig. box. * U. S. Mint. "American Revolution Bicentennial. 1973. " Bronze, approx. 39 mm. OBV Bust portrait of Samuel Adams & Patrick Henry REV "Committees of Correspondence to Unite the Colonies," surrounding dispatch of messenger on horseback. In orig. plastic case with leaflet. * Citicorp. "One Hundred Seventy Fifth Anniversary 1812-1897. " Sterling silver, 39 mm. OBV Silhouette of Citicorp Building REV "175 Years Citicorp Citibank. " In orig. box with leaflet. * United Nations Peace Medal. 1974. Sterling silver, approx. 37 mm. OBV Dove with olive branch REV UN Seal. In lucite holder.
Adolescent Portrait Inscribed and Signed to the Great Raymond (David Bamberg) Bamberg, David. Adolescent Portrait Inscribed and Signed to The Great Raymond. New York, ca. 1920. Bust silver print portrait of the young performer staring intently at the viewer. 9 ¾ x 7 ½”. Inscribed and signed in the lower right corner in white, “To dear Mr. Raymond/from David/3/20.” Short crease at center, else good.
VINTAGE BALINESE HANDCRAFTED WOODEN BUST: Hand carved Indonesian figural bust of man in headdress. Chip to tip of headdress. . . Issued: 20th c. Dimensions: 9. 75"H x 7"W. Country of Origin: Indonesia. Provenance: David Farin Collection.
Copperfield, David. 15 Years of Magic. The Best of David Copperfield. [Germany, ca. 1995.] Bust portrait of the famous illusionist advertising an appearance at the Olympiahalle, Munich. 23 x 33". Minor ripping and wear; A-. Signed by Copperfield. Unmounted.
Jules L. Butensky (Russian/American, 1871 - 1947), bronze bust of George David Stewart (1862 - 1933), signed right side "Jules L. Bu. : Jules L. Butensky (Russian/American, 1871 - 1947), bronze bust of George David Stewart (1862 - 1933), signed right side "Jules L. Butensky" with marble base, also marked "Roman Bronze Works". height 19 inches. Provenance: The New York Academy of Medicine. Condition All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
Lorenzo Bartolini (Italian 1777-1850) "Portrait Bust of Don Camillo Borghese (1775-1832) Prince of Sulmona and Duke of Guastalla" c. 1807-09 white marble uninscribed height 22 in. Provenance: Joseph Napoleon Bonaparte (1768-1844) King of Naples 1806-8 and King of Spain 1808-1813; his sale Point Breeze Bordentown NJ (by Anthony J. Bleeker of New York) 25 June 1847 lot 23 (p. 3 of the catalogue); probably Julia Ward Howe or a member of her family (her sister Annie Howe married Adolphe Maillard son of Joseph Bonaparte's secretary Louis Maillard); Fanny Gay Howe (widow of Julia Ward Howe's son); purchased from her estate sale 1929 by J. Prescott Hall; donated by him to a mid-Atlantic museum 1932; deaccessioned from that institution c. 2008. Note: This superb bust is catalogued in Anthony Bleeker's pamphlet for the sale at Point Breeze as "[No.] 23-Marble Bust of Prince Borghese husband of Princess Pauline sister to Napoleon by Bartolini." Paolina Bonaparte-Borghese is of course the subject of the most celebrated sculpture of the Neo-Classic movement her life-size recumbent portrait (1804-8) as Venus Victorious by Antonio Canova (1757-1822) still exhibited in its original dedicated room at the Villa Borghese in Rome. She and Camillo Borghese were married on 6 November 1803 at Mortefontaine Joseph Bonaparte's château near Paris; Camillo became in quick succession a prince of France 1804; a commander of the Imperial Guard 1805; a general then duke of Guastalla; governor of Piedmont 1808; and a division commander in the Imperial Army 1809. The specific group of marble busts by Bartolini in King Joseph Bonaparte's collection-no. 20 Louis Bonaparte King of Holland 1806-10; no. 21 Jérôme Bonaparte King of Westphalia 1807-13; no. 22 Félix Bacciochi (husband of Elisa Bonaparte Grand Duchess of Tuscany 1809-14) Prince of Piombino and Lucca 1805-14; and no. 23 Prince Borghese-were all of men and were clearly a coherent series from which even Napoleon's own sisters were excluded. From the dates of their and their consort's promotions and of his own appointment in 1807 as professor at Carrara Bartolini's date of execution of these four male busts for Joseph Bonaparte must have been c. 1807/9 or immediately following Canova's sublime rendering of Paolina Borghese in Rome. A native of Tuscany Lorenzo Bartolini was trained at Florence Carrara and Volterra (1795) before joining the French army in 1799 and traveling to Paris to study with Jacques-Louis David (1748-1825); there he won the prestigious Prix de Rome in 1802. His many Napoleonic commissions soon followed and culminated in his appointment under Princess Elisa Bonaparte-Bacciochi (as already Regent of Etruria) in 1807 at the Accademia di Carrara which she reorganized as a center for the production of Imperial family statues and busts. This very spirited image of Camillo Borghese in his early thirties epitomizes the degree to which Bartolini was the true parallel and successor of Canova. The dramatic shock of hair over his forehead and his characteristic whiskers are also repeated in Borghese's painted portraits (it is no accident that Bartolini's closest artistic friend was J.-A.-D. Ingres 1780-1867) and effectively frame the powerful yet amiable features that made this sitter a particular favorite of le Grand Empereur. References: Anthony J. Bleeker (New York) Catalogue of . Elegant Sculpture . Belonging to the Estate of the late Joseph Napoleon Bonaparte 25 June 1847 lot 23; "Bonaparte " Grove Dictionary of Art Jane Turner ed. 34 vols. London 1996 vol. 4 pp. 298-308; Ettore Spalletti "Bartolini " ibid. vol. 3 pp. 294-297; and Brunk Auctions (Asheville NC) 9-10 May 2009 lot 956 for details of intermediate provenance.
DAVID SPELLERBERG: "DUSTY"patinated bronze, signed and dated in casting "David L. Spellerberg 2010" and numbered 1/1, depicting the head of a golden retriever, mounted to a green stone plinth Provenance: The Estate of Barron Hilton the bust: 13 inches high Condition:
CLASSICAL STYLE CRACKLE GLAZED POTTERY BUST OF DAVIDClassical Style Crackle Glazed Pottery Bust of David,
COPPERFIELD, DAVID. 15 YEARS OF MAGIC. THE BEST OF DAVI...Copperfield, David. 15 Years of Magic. The Best of David Copperfield. [Germany, ca. 1995.] Bust portrait of the famous illusionist advertising an appearance at the Olympiahalle, Munich. 23 x 33". Minor ripping and wear; A-. Signed by Copperfield. Unmounted.
VINTAGE ASIAN WOODEN BUST OF A WOMAN: Carved figural bust of woman in headdress or turban. . Issued: 20th c. Dimensions: 9. 25"H x 6. 5"W. Provenance: David Farin Collection.
JUDAICA. SILVER SHABBOS LAMP AND A BRONZE BUST. An engraved damaged partial silver open work shabbos lamp. Accompanied by an Israeli Pal Bell David Klein bronze bust of a Hasidic boy signed David K. Total approx. weight of the silver shabbos lamp is 10.46 troy oz (gross). From a Long Island, NY estate. Dimensions: lamp measures approx. 11" in height and the bust measures approx. 6.50" in height Condition: Good, with light surface scratches and minor dings/dents. Several solder points on the shabbos lamp are broken. Please use the given photos in order to assess the damage.
(lot of 3) Sculptures, including: (1) bronze sculpture, David, after Michelangelo (Italian, 1475-1564), (1) bust of David, signed Casea, on a marble base, approx 4.75"h, 2"w, 1.75"d, (1) bronze portrait plaque of Michelangiolo, approx 4 5/8"l, 3 5/8"w
After Augustus Saint-Gaudens (American, 1848-1907) Head of Lincoln: After Augustus Saint-Gaudens (American, 1848-1907) . . Head of Lincoln . Inscribed "AUGUSTUS SAINT GAUDENS/©" on the left side, "Recast by Nolte Sculpture. " and with a seal on the back edge, identified "David Herbert Donald/1996/LINCOLN PRIZE/Lincoln and Soldiers Institute/Gettysburg College" on a presentation plaque affixed to the plinth. . Bronze with a brown patina, height 16 1/2 in. , on a marble plinth. . Condition: Dust and dirt to interstices. . . N. B. This replica of Saint Gaudens's Bust of Lincoln was presented to David Herbert Donald, an American historian and author of Lincoln (Touchstone Books), upon being awarded the Lincoln Prize by Gettysburg College and the Gilder Lehrman Institute of American History in 1996. The Gilder Lehrman Lincoln Prize is awarded annually for the finest scholarly work in English on Abraham Lincoln, the American Civil War soldier, or a subject relating to their era. . . The original Saint Gaudens Sculpture was recast by Michael Nolte of Vanguard Sculpture Services, a full service foundry in Milwaukee, Wisconsin. The portrait bust of President Abraham Lincoln was derived from the full-length standing portrait completed by Augustus Saint-Gaudens in 1887 for Chicago's Lincoln Park. Saint-Gaudens based Lincoln's likeness on plaster life casts of the president's head. . Estimate $2, 000-3, 000 . . . Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.
SET OF 3 WOODEN CARVED AFRICAN BUST FIGURES: 3 hand carved wooden bust figures. Heights are 10. 75"H, 9. 25"H and 8. 5"H. . . Issued: 20th c. Dimensions: 10. 75"H. Country of Origin: Africa. Provenance: David Farin Collection.
(5) Portrait busts to include Meissen bust of a woman in plume feathered hat and fine dress, incised mark at underside, 5-3/4"H, Limoges bust of Josephine 5"H, classical style porcelain bust of a woman, 6-1/2"H, bust of David signed A. Giomelli Volterra in mold on alabaster foot, 6-3/4"H and porcelain bust of a woman, flower crown at head, 9-1/4"H
GERALD LAING (British 1936-2011) A PRINT, "Anna Karina, " 1963-2004, : GERALD LAING (British 1936-2011) A PRINT, "Anna Karina, " 1963-2004, screenprint on paper, signed and dated in margin in pencil L/R, titled and numbered L/L 31/100, inscribed lower center, "To David, because you were there. " 37" x 22 1/4" Note: Based on a painting Laing completed in 1963, while at school at St. Martins with David Brauer. The original painting was based on a newspaper photograph of the bust of French film star Anna Karina in her leading role of a film entitled Vivre sa Vi (1962) and was installed in nine panels, stretching 12 feet tall. Provenance: Exhibited in “AN ART HISTORIAN COLLECTS: The David E. Brauer Collection” at the Mobile Museum of Art, Mobile, Alabama, February 7 – November 29, 2020; Estate of David E. Brauer, Houston, Texas. Condition Generally in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.
David Simon (b. 1970): Artist: David Simon. Title: Male Bust. Size: Artwork: 13 x 6 1/4 inches Medium: glay.
A mixed silver group of small items and flatware
Comprising: French 950 standard silver flask funnel; Chinese export sterling novelty toothpick holder, Yuchang; Italian pair 800 standard silver mounted glass figural salt cellars with spoons; unmarked spoon after the antique; set 3 unmarked gilt teaspoons with various bust finials; 835 standard silver scoop as souvenir of Heidelberg; Norwegian 830 lemon fork; Norwegian gilt sterling and enamel set of 2 pairs of small graduated serving forks, David-Andersen; another small gilt-sterling and enamel fork by David-Anderson with a similar small scoop by another maker; a gilt sterling sugar spoon with twist stem and plique a jour finial.