An exceptional Coade stone figure of a naiad, or water nymph, with serene countenance, signed “H. Bentley 1844”, from an 18th-century design by John Bacon (the chief designer for the Coade Manufactory), semi-draped in reclining pose, her right arm resting on an overturned urn, her left hand raising her robe above her head. English, ca. 1844, 46 ins. high, 72 ins. long, 21 ins. deep.
This is an unusually late dated example of Coade stone. The Coade firm closed in about 1840, and the molds sold in 1843. It is likely that H. Bentley bought the mold for this figure at that time. We have never seen another example of this model on the market.
An exceptional set of stoneware female figures representing the Four Seasons with their characteristic features, attributed to Villeroy & Boch (Wallerfangen, Mannheim), unmarked, German, ca. 1900. Autumn 57 ins. high, Winter, Spring and Summer, 55 ins. high; bases are 17 ins. x 18 ins. On associated later pedestals of octagonal form, 30 ins. high, 23 ins. wide.
This set of figures was produced by Villeroy & Boch at its Merzig factory from 1879 until the late 1920s. A historian at Villeroy & Boch reports that it was not unusual for their products to have been unmarked.
A carved Portland stone sundial with associated bronze dial plate stamped Armstrong of Manchester, English, the pedestal ca. 1860, the dial ca. 1900. 48 ins. high overall, pedestal 39 ins. high, gnomon 9 ins. high, 22 ins. overall diameter.
A pair of cast- and wrought-iron tree-form candelabra, each with six bronze candle holders, American, ca. 1930. 64 ins. high overall, overall depth 26 ins.
A bronze armillary sphere with moon and star embellishments and bird head finial, inscribed “ANNO 1917 1/10”, English, 1917, with newly fabricated socle, on associated composition stone pedestal with floral flourishes and octagonal top, English, ca. 1930. Dimensions of armillary sphere: 31.25 ins. high, 19 ins. wide. Dimensions of pedestal: 39 ins. high, 25 ins. wide. Overall height of armillary on pedestal: 70.25 ins.
A pair of cast-iron campana form urns with fluted socles, the body of each urn ornamented with rinceaux, the looped handles terminating in a grotesque mask, American, ca. 1880. On associated pair of tapered cast-iron plinths with floral swag and urn motif, English, ca. 1940. Urns 20 ins. high, plinths18 ins. high, 19 ins. square at bottom.
A rare zinc figure of Diana de Gabii, probably German, attributed to M. Geiss foundry of Berlin, ca. 1850. 67 ins. overall height, 24 ins. overall width, 19 ins. overall depth; base 22 ins. x 19 ins.
This model of Diana is one of many replicas derived from the original excavated by Gavin Hamilton in 1792 at the Borghese estate in Gabii, Italy. The figure was purchased by Napoleon Bonaparte in 1807 and by 1820 was displayed at the Louvre. Popularity of this masterpiece grew and by the late 19th century several copies in many mediums were conceived and displayed. Frohner’s entry in the catalog of the Louvre describes the Diana “as one of the pearls of the museum [and is] among the most admired masterpieces of Greek sculpture.”
It is very rare to find a zinc model of Diana de Gabii. As zinc was a phenomenally popular medium for sculpture in the 19th and early 20th century, it would seem logical that this Diana was made by an American maker. However, it does not appear in catalogs of well-known American manufacturers. Furthermore, Diana de Gabii is not listed in Carol Grissom’s exhaustive tome Zinc Sculpture in America 1850-1950, which substantiates its rarity and also indicates a foreign maker. After examining photographs of our statue, Carol Grissom felt strongly that it was German and not American based on 1) the quality of the casting, and 2) the figure’s notched, molded plinth. This type of plinth was often used by German makers, especially by M. Geiss of Berlin. According to Ms. Grissom, American makers tended to use a very simple rectilinear plinth. While this model of Diana has not been found in any Geiss catalogs, it is still possible to attribute it based on workmanship and the characteristics of the plinth design.
A rare pair of recumbent Coade stone greyhounds, each wearing a collar with clasp and lying with tail tucked under, on integral plinth bases having an impressed mark “COADE’S”. English, by Coade Lambeth, ca. 1813-1833. 8 ins. overall height, base 8.75 ins. wide, 28.5 ins. long.
The present model was produced by both Eleanor Coade’s manufactory and later by Mark Blanchard, who bought many of the Coade molds. The style of the impressed stamps on this pair would perhaps indicate a manufacture date of around 1830. This celebrated model also appears on the end of a settee illustrated in Thomas Hope’s Household Furniture and Interior Decoration, plate XXVIII, of 1807. Hope does not state in his text the medium of the dogs although Coade is known to have supplied various pieces to him.
This hitherto unknown mark” COADE’S”, which is original to the casting, implies a date after Mrs. Coade’s partner Sealy died in 1813 and before 1833 when the firm went bankrupt. Before Sealy died the mark was COADE & SEALY.
A composition stone carp with old brown and black painted faux-iron finish, English, ca. 1940. 16 ins. high, 40 ins. long, 16 ins. wide.
An Edwardian marble bench with volute-carved arms and straight backs supported by stepped blocks, all surfaces weathered and lichened, English, ca. 1910. 32 ins. high, 60 ins. wide, 19 ins. deep; seat height 18 ins., seat depth 15 ins.
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