Animals in Bronze and Wood by ruzhnikov

Ruzhnikov • Fine art & antiques

Animals in Bronze and Wood

A Large Japanese Bronze Sculpture of a Bear Genryusai Seiya circa 1880 overall height: 42 cm; length: 76 cm; depth: 57 cm A large realistically cast Meiji period (1868–1912) bronze model of a bear by Genryusai Seiya, signed with a tablet, mounted on a later stand.

A Monumental “Black Forest” Carving of an Eagle Ed. Binder & Co, Brienz circa 1900 height: 82.5 cm; width: 133 cm; depth: 51 cm A monumental “Black Forest” walnut carving of an eagle perched on a toppled shield by Ed. Binder & Co. Shown with outstretched wings and the head turned to the right, the talons gripping a sheaf of arrows and a shield decorated in gilt with 12 stars partially obscured by a trailing laurel branch, the feathers realistically carved and scorched, the gaping mouth painted red, all raised on a turned socle. For a similar carving of an eagle facing right see Ed. Binder & Co of Brienz original stock catalogue facsimile reproduced in J. Arenski, S. Daniels and M. Daniels, Swiss Carvings, The Art of the ‘Black Forest’ 1820-1940, Woodbridge, 2005, p. 162 (top righthand plate).

A “Black Forest” Carving of Two Quarrelling Eagles Ed. Binder & Co, Brienz 19th century height: 79 cm; width 41 cm; depth: 32 cm A “Black Forest” linden wood carving depicting two quarrelling golden eagles, with one bird attempting to displace the other from the top of a rocky outcrop, applied with a brass plaque ‘Sculptures Binder, Lucerne, Zermatt, St. Moritz. Fabrique á Brienz’.

A “Black Forest” Carving of an Eagle circa 1880 height: 76 cm; width: 83.5 cm A fine “Black Forest” walnut carving of an eagle. The bird is shown perched on a rocky outcrop with its wings outstretched and its head turned to the right.

A Japanese Cast Bronze Model of an Eagle late 19th century height: 78.5 cm; width: 63.5 cm A fine Meiji period (1868–1912) bronze eagle perched on original root wood stand in the form of running water. Signed in a seal.

A “Black Forest” Carving of a Stag F.R. Michel of Bönigen late 19th century height: 91.5 cm; length: 41 cm signed: F R Michel of Bönigen A superb quality “Black Forest” maple wood carved model of a stag, signed by F.R. Michel of Bönigen, Switzerland. Standing proudly with his head turned to the left, the pelt naturalistically carved and stained round the neck and down the spine, the antlers stained lighter at the tips. For a very similar model of a stag exhibited by the Huggler Brothers at the 1900 Paris Exposition see J. Arenski, S. Daniels and M. Daniels, Swiss Carvings, The Art of the ‘Black Forest’ 1820-1940, Woodbridge, 2005, p. 54, pl. 51.

A Japanese Bronze Model of a Stag Genryusai Seiya

A Meiji period (1868–1912) Japanese bronze sculpture of a stag. Realistically cast, the stag is shown standing on a rock with his antlered head held high. Stamped with a signature seal reading ‘Seiya sei’ (made by Seiya). Mounted on a carved hardwood base.

circa 1900 height: 61 cm; length: 72.5 cm signed: Seiya sei

Genryusai Seiya was the master craftsman in charge of a workshop that specialized in export wares of the highest quality. Production included human genre figures, vases and exotic bronze models of animals probably influenced by the opening of Tokyo Zoological Gardens in 1882.

A Japanese Bronze Sculpture of a Tiger and an Alligator Genryusai Seiya circa 1890 height: 43 cm; length: 101 cm signed: Seiya sei

An unusual Meiji period (1868-1912) bronze sculpture of a tiger fighting an alligator by Genryusai Seiya. The creatures modelled separately with the tiger attempting to pin down the snapping alligator, the pelt of the tiger and the characteristic skin of the reptile naturalistically rendered, on a rootwood base, both with the seal of the Genryusai workshop.

A Large Japanese Bronze Sculpture of a Tiger Genryusai Seiya circa 1880 height: 66 cm; length: 122 cm; width: 51 cm signed: Dai-Nihon Genryusai Seiya zo [Made by Genryusai Seiya, Great Japan] A large Meiji period (1868–1912) bronze figure of a tiger by Genryusai Seiya, striding forward with teeth bared, the bronze patinated to imitate tiger stripes, with inlaid glass eyes, set on a gnarled rootwood base. Impressed seal mark: Dai-Nihon Genryusai Seiya zo [Made by Genryusai Seiya, Great Japan].

A Large Swiss Wooden Longcase Clock H. Spring Interlaken

circa 1923 height: 279.4 cm; width: 33.6 cm movement signed: Schlenker & Kienzle; the pediment signed and dated: H. Spring Interlaken, 1923

A large linden wood longcase clock by Spring of Interlaken, the square silvered dial enclosed behind a glazed door within an ornate case, surmounted by carved figures of William Tell and his son after the “Tell Monument” by Richard Kissling (1848-1919); the base is carved in relief with “Lion of Lucerne” after Bertel Thorvaldsen and inscribed with the Latin motto “Helvetiorum Fidei Ac Virtuti (to the loyalty and bravery of the Swiss)”. Movement signed Schlenker & Kienzle, the pediment signed and dated H. Spring Interlaken 1923. With a postcard reading: Kunstmobelfabrik un ausstellung Interlaken. For many years carved wooden pieces such as this clock were wrongly thought to have come from the Black Forest in Germany. However, we now know that a wide variety of carvings were actually produced in the Swiss Alps as extensively researched by J. Arenski, S. Daniels and M. Daniels, in their publication ‘Swiss Carvings, The Art of the ‘Black Forest’ 1820-1940’, Woodbridge, 2005, p. 98, pl. 146-147 (for related clocks see p. 53 pl. 256). The “Lion of Lucerne” – a monumental rock relief of a slain lion on the wall of a limestone mine in Lucern – was created by Bertel Thorvaldsen (1170-1844) as the memorial for the members of the Swiss Guard who were killed defending the royal family during the French revolution in 1792. It allegorically commemorates the destruction of the Swiss Guard at the storm of the Tuileries in Paris 1792, depicted in The Dying Lion.

A “Black Forest” Carving of a Stag late 19th century height: 47 cm; length: 43.5 cm A fine late 19th-century “Black Forest” linden wood carving of a stag with iron antlers.

A “Black Forest” Carving of Two Eagles height: 63 cm; width: 48 cm A fine “Black Forest” walnut carving of two eagles shown perched on a rocky outcrop.

A “Black Forest” Carving of an Eagle late 19th century height: 75 cm; width: 63.5 cm

A fine, intricately carved walnut sculpture of an eagle, with his talons on a rocky surface and his wing outspread.

A Pair of “Black Forest” Carved Game Wall Plaques late 19th century height: 79 cm; width: 43 cm

A pair of matching finely carved wooden game plaques, each showing an inex and a grouse complete with a rifle and a hunting horn. 34

A “Black Forest” Carving of Two Eagles late 19th century height: 66 cm; width: 48 cm A fine wooden carving of two golden eagles perched on a rocky outcrop. The sculpture is realistically rendered to emulate a variety of natural textures.

A Pair of Parcel-Gilt Bronze and CutGlass Lamps Modelled as Saxon Warriors James Hinks & Son circa 1860 overall height: 84 cm stamped ‘Hinks & Sons Patent

James Hinks (1816–1905) was an oil lamp manufacturer in Birmingham. Leaving home at the age of 16 he tried many trades from woodturning, japanning, brush making, die sinking, medal making and even being a pub landlord, before manufacturing oil lamps. Working from the Crystal Lamp Works, Great Hampton Street, Birmingham, he was joined by his son Joseph and renamed the company James Hinks and Son in 1862. They won a patent for ‘improvements in lamps’ the following year and swiftly launched the “Patent Duplex Lamp”, which using two wicks instead of one, gave out twice the light. By the turn of the century, the company had bases in London and Birmingham, supplying railway companies for trains, stations and signals. To the domestic market, Hinks’ lamps were “a byword for domestic beauty”.

A very fine pair of mid-Victorian parcel-gilt bronze oil lamps by Hinks, each modelled as a bearded warrior dressed in Saxon royal attire, with a crowned helmet, broadsword and doubleheaded battle axe, standing in front of a slender scroll support surmounted by a cut-glass oil reservoir, all set on a shaped ormolu base encircled with a victor’s wreath of oak leaves, and raised on an octagonal bronze base, converted to electricity, stamped ‘Hinks & Sons Patent’ on the fitting. 40

A Bronze Equestrian Sculpture of Emanuele Filiberto, Duke of Savoia Carlo Marochetti (1805-1867) height: 85 cm; length: 87.5 cm signed: C. Marochetti S.P.T. ; stamped: De Braux F.R.

An Italian bronze sculpture of Emanuele Filiberto, Duke of Savoia, on horseback by Baron Carlo Marochetti; the duke is shown wearing full armour with the visor of his helmet up and drawing his sword in front of his face, riding a prancing horse, the base signed ‘C. Marochetti S.P.T.’ and with the foundry stamp ‘De Braux F.R.’ for De Braux d’Anglure. This sculpture is a reduced version of the original equestrian monument by Marochetti, erected in 1838 in the Piazza San Carlo in Turin. It was a gift to the city of Turin and in recognition of this, Marochetti was made a baron of the Kingdom of Italy by Carlo Alberto, King of Sardinia, (1798-1849).

Emanuele Filiberto, 10th Duke of Savoia, (1528– 1580) was a soldier and statesman considered one of the greatest Savoyard monarchs. He won a famous victory in 1557 when he led the Spanish invasion of France at St. Quentin. After the Peace of Cateau-Cambrésis in 1559, he was able to regain his duchy and territory from both the French and Spanish, including Turin which became the seat of Savoia power. Baron Carlo Marochetti (1805–1867) was an Italian-born French sculptor who worked in France, Italy and Britain. He was a student of François-Joseph Bosio and studied in both Paris and Rome. Some of his most famous works include the marble relief of the Battle of Jemappes on the Arc de Triomphe and the equestrian sculpture of Richard Coeur de Lion: the plaster model was exhibited in 1851 at the entrance of the Crystal Palace, in 1860 the sculpture was reproduced in bronze for the forecourt of the Palace of Westminster.

A Large Japanese Bronze Sculpture of a Tiger Tsunematsu circa 1900 height: 63 cm; length: 142 cm signed: Jōkō saku A superb Meiji period (1868–1912) three-quarter life-size bronze figure of a tiger. The bronze body is patinated to imitate the distinctive stripes of a tiger’s skin, with inset orange glass eyes. Stamped with a seal of Tsunematsu, a workshop in Tokyo specializing in cast bronze animal sculpture made for export purposes around 1900. On a carved hardwood base.

A “Black Forest” Carving of a Hunter and an Eagle Johann Flück (attributed) late 19th century height: 99 cm; width: 56 cm A fine “Black Forest” linden wood carved wall decoration showing a hunter being attached by an eagle as he attempts to raid its nest, attributed to Johann Flück of Brien.

A “Black Forest” Carving of an Ibex height: 101 cm; length: 53 cm; depth: 32 cm An imposing “Black Forest” wooden carving of an Ibex standing on a rocky outcrop with realistically carved ribbed antlers and rippling fur.

A Japanese Bronze Model of a Pheasant Masatsune circa 1900 overall height: 30 cm; length: 57 cm signed: Masatsune A Meiji period (1868–1912) Japanese gilt-bronze figure of a pheasant. Finely cast, naturalistically rendered with its plumage engraved and patinated, stamped with a seal of Masatsune, a late 19thcentury Japanese artist specialising in bronze bird sculptures. Mounted on a carved wood base simulating stylised waves.

A Japanese Bronze Sculpture of a Lion and Lioness Genryusai Seiya circa 1890 height: 33 cm; length: 63.5 cm; width: 21 cm signed: Dai-Nihon Genryusai Seiya zo [Made by Genryusai Seiya, Great Japan] A Meiji period (1868–1912) bronze sculpture group of a lion and lioness by Genryusai Seiya, the lion striding forward and snarling with the lioness slinking by his side, supported by a cast bronze base, further mounted on a carved root-wood stand. Signed in a seal.

A Rare Japanese Wooden Carving of a Tiger Genryusai Seiya circa 1900 height: 53 cm; length: 114 cm A rare and unusual Meiji period (1868–1912) Japanese wooden sculpture of a tiger. Striding forwards with one paw raised and snarling to show his sharp teeth, naturalistically carved with a tiger’s ruff but without stripes. It is unusual to find a tiger of this size and in this pose in wood so it is entirely possible that the present example was carved as a foundry model or ‘pattern’ for the production of similar tigers in bronze.

A Japanese Bronze Sculpture of a Tiger circa 1900 length: 70 cm; height: 29 cm; width: 30 cm A Meiji period (1868–1912) bronze figure of a crouching tiger, naturalistically cast and detailed, patinated to imitate tiger stripes, with inlaid glass eyes, raised on a carved root-wood base; signed on the underside.

A Japanese Bronze Sculpture of a Tiger circa 1900 length: 90 cm; height: 45 cm; width: 28 cm A large Meiji period (1868–1912) bronze sculpture of a roaring tiger with inset glass eyes, acid etched striation designs simulating stripes, mounted on a carved wooden base.

A Large “Black Forest” Mantel Clock circa 1890 height: 60 cm; width: 73 cm; depth: 25 cm A large and impressive wooden mantel clock, ornately carved with two figures of pheasants and their young seated amongst ivy, ferns and other flora; the wooden dial with Roman numerals and pierced hands; twin barrel movement.

French 19th Century Bronze Sculpture length: 172 cm height: 183 cm

Andre Ruzhnikov ruzhnikov.com +44-7866-638-973 +44-203-983-8383 ruzhnikov@russianarts.com

Credits Consultant: Ekaterina Yakushkina Design: Maria Kiseleva Printed: Onebook.ru