The Beauty And Elegance Of The Human Form




7574. PEDO, by NAM JUNE PAIK. Korean American (1932-2006). Video Automaton, c. 1989. Over life sized electronic automaton with composite body and TV monitor head, the title of the work 'PEDO' written in attached alphabetic beads. Dimensions 80 inches in height, weight is ~80 lbs. Additional photos upon request. Condition: The TV turns on, however the other electronics need repair (we can recommend an expert with experience in the repair and restoration of Paik pieces). There is also separation of one finger. This is a very heavy, bulky piece subject to pickup or special shipping by a fine art shipper.

Nam June Paik is the acknowledged originator and pioneer of Video Art. His electronic sculptures have sold from $40,000 to well over $100,000 and are featured in museums such as the Whitney Museum of Modern Art, the Smithsonian Museum of American Art and numerous others. Christie's holds the auction record for Paik's work since it achieved $646,896 in Hong Kong in 2007 for his Wright Brothers, a 1995 propeller-plane-like tableau comprising 14 TV monitors.

This is an early unsigned work by Paik c. 1979 before he was discovered and became famous. I lived in Manhattan, and it was in the early 70's that I used to watch Paik, who had a regular program on a public access channel done by WNET called Videolab. Paik and his early pieces were prominently featured in those early shows with various camera feeds etc., often of Paik himself or his surroundings, being displayed through the monitor. This work was produced somewhat later and I'm not sure what kind of documentation exists for it. However we are not aware of anyone else producing early video art like this at the same period. As such this is certainly an important early work by Paik and likely one of the earliest extant works of the video art genre and thus of considerable historical interest to the development of 20th century electronic art. Front view. Left side view. Back view. Right side view.

Provenance: An private North Eastern Collection. Previously the collection of a New York entertainer. Acquired at auction in New York in the early 1980's.

Price on request.



12863. E. TANNIN, BRONZE BUST FROM THE 1878 PARIS EXPOSITION UNIVERSELLE. 17 x 34 inches. Bronze bust of the French symbol of Liberty, also known as Marianne, from the 1878 Paris Exposition Universelle. Marianne was the inspiration for the France's gift America, the Statue of Liberty. This bronze closely resembles the head of Liberty, which was exhibited at the Exposition the same year. Instead of the spiked crown of the liberty statue for America, we see a laurel surmounted by a five pointed star. Symbols of the arts and industries of France are emblazoned on the sash. The bronze has its original finish but shows evidence of past over-zealous cleaning of the base. Verso 1. Verso 2. Verso 3. Verso 4. Verso 5.

Provenance: The collection of a Southern gentleman, exhibited at the New Orleans Museum of Art.



8863. BARTOLOMMEO COLLEONI ON HORSEBACK, after ANDREA DEL VERROCCHIO (1481-8). Italian Foundry, 19th century. Superbly rendered and detailed large copy in bronze of the famous equestrian statue of Bartolommeo Colleoni, commander of the Venetian Republic by Andrea del Verrocchio, 1481-8. 24" height, 52lbs. Slight bend to the staff he carries in his right hand, otherwise excellent condition with no problems, repair or restoration.

Andrea del Verrocchio; c. 1435 – 1488), born Andrea di Michele di Francesco de' Cioni, was an Italian painter, sculptor, and goldsmith who was master of an important workshop in Florence. He became known by his nickname "Verrocchio" which in Italian means "true eye" a tribute given to him for his artistic achievement. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi. His greatest importance was as a sculptor and his last work, the equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece. The original Equestrian Statue of Colleoni by Verrochio stands in the Campo di Santi Giovanni e Paolo in Venice, Italy. The current piece is a remarkable large copy from an Italian foundry true to the original in the finest detail.

Bartolomeo Colleoni (1395 – 2 November 1475) was an Italian condottiero, who became captain-general of the Republic of Venice, where there is a famous statue showing him on horseback. He is also credited with having refurbished the Roman baths at Trescore Balneario. When not fighting to protect the Venetian Republlic, he devoted his time to introducing agricultural improvements on the vast estates with which the Venetians had endowed him, and to charitable works. At his death in 1475 at Malpaga, he left a large sum to the republic for the Turkish war, with a request that an equestrian statue of himself should be erected in the Piazza San Marco. The statue was modelled by Andrea del Verrocchio and cast in bronze after his death by Alessandro Leopardi, but, as no monument was permitted in the piazza, it was placed near the Scuola Grande of St Mark outside the Church of SS Giovanni e Paolo.

Provenance: Italian from a Roman foundry. A private North Eastern collection from the early 1990's. Acquired in a private sale from the estate of an American sculptor working in Rome in the 1950's and 60's..



8418. THE ROMAN POET HORACE. Victorian England, 19th century. The great Roman poet depicted seated in a curule chair wearing a poet's laurel wreath and a long toga, the hem of which he holds up in his left hand, his right hand grasping his writing stylus over a scroll on which is written "DEL ART / CHAMPETRE / HEUREUX QUI / DE SES MAINS / COMME NOS / PREMIERS PERES / CULTIVE EN PAIX / SES CHAMPS ET / VIT LIBRE / DAFFAIRES. ORACE / ART", a quote from his work, which roughly translates as: "Led happy pastoral art, which with their own hands our fore fathers cultivated their fields in peace and saw freedom in their affairs. Horace". 11 x 16.5 x 9 inches. 26 lbs. Foundry stamp 3876 on back of base. Unsigned. A choice original Victorian classical bronze with beautiful fine detail even down to the tiny wolf heads ornamenting his sandals. Excellent condition with fine original patina and no problems. A masterpiece of classical Victorian sculpture.

The Roman poet HORACE (65-8 BC), was the leading Roman lyric poet during the time of Augustus, and a friend and confidant of that emperor. His 'Odes' and other works have long been considered among the greatest poems ever written and have been taught and studied from antiquity up until modern times, and they have influenced the work of countless other poets throughout the ages. In short Horace is universally considered one of the greatest poets of all times.

Provenance: A private American collection. Acquired at auction in September 2006.



8083. DAVID D'ANGERS, BRONZE BUST OF DR. BICHAT. French, early 19th century. Signed David Dangers, with Barbedienne Foundry mark. (On the back center is "F. BARBEDIENNE. FONDEUR." and lower right is a round seal with a bearded head in the center and around it "REDUCTION MECHANIQUE COLLAS BREVETS".) An excellent early French bronze of an important figure in medical history. Dimensions 6 x 10 inches. In choice original condition with no repair, restoration or discoloration.

Francois-Xavier Bichat, French doctor and anatomist (Thoirette, 1771 - Paris, 1802). The son of a physician, he was born at Thiorette in the French Jura, and studied at Montpellier, Lyons and Paris, where he later taught, and was physician to the Hotel Dieu. He conceived the idea of the "tissues" of the body, existing in various organs and susceptible to disease in various ways. Based on numerous post mortems, he identified tissues as the basic units of life. He identified 21 types of tissues in his 'Anatomie Genearale' (General Anatomy) (1801) and his 'Traite des Membranes' (Treatise on Membranes), (1800), and may therefore be considered the founder of histology. He also studied pathology. He defined life as the sum of forces resisting death.

David, Pierre Jean (1789-1856), usually called David d'Angers, French sculptor, was born at Angers on the 12th of March 1789. His father was a sculptor, or rather a carver, but he had thrown aside the mallet and taken the musket, fighting against the Chouans of La Vende. He returned to his trade at the end of the civil war, to find his customers gone, so that young David was born into poverty. As the boy grew up his father wished to force him into some more lucrative and certain way of life. At last young David succeeded in surmounting his father's opposition to his becoming a sculptor, and in his eighteenth year he left for Paris to study the art with a capital of only eleven francs. After struggling against want for a year and a half, he succeeded in taking the prize at the Ecole des Beaux-Arts. An annuity of 600 francs was granted by the municipality of his native town in 1809, and in 1811 David's Epaminondas gained the prix de Rome. He spent five years in Rome, during which he became enamoured of the works of Canova. Returning from Rome about the time of the restoration of the Bourbons, he refused to remain in the neighborhood of the Tuileries, which swarmed with foreign conquerors and returned royalists, and accordingly went to London. Here Flaxman and others visited upon him the sins of David the painter, to whom he was erroneously supposed to be related. With great difficulty he made his way to Paris again, where a comparatively prosperous career opened upon him. His medallions and busts were in great demand, and orders for monumental works also came to him. One of the best of these was that of Gutenberg at Strassburg; but those he himself valued most were the statue of Barra, a drummer boy who continued to beat his drum till the moment of death in the war in La Vende, and the monument to the Greek liberator Bozzaris, consisting in a young female figure called Reviving Greece, of which Victor Hugo said: "It is difficult to see anything more beautiful in the world; this statue joins the grandeur of Pheidias to the expressive manner of Puget." David's busts and medallions were very numerous, and among his sitters may be found not only the illustrious men and women of France, but many others both of England and Germany countries which he visited professionally in 1827 and 1829. His medallions, it is affirmed, number 500. He died on the 4th of January 1856. David's fame rests firmly on his pediment of the Pantheon, his monument to General Gobert in Pre Lachaise and his marble Philopoemen inthe Louvre. In the Muse David at Angers is an almost complete collection of his works either in the form of copies or in the original moulds. As an example of his benevolence of character may be mentioned his rushing off to the sickbed of Rouget de Lisle, the author of the Marseillaise Hymn, modeling and carving him in marble without delay, making a lottery of the work, and sending to the poet in the extremity of need the seventy-two pounds which resulted from the sale.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, October, 2004.


8088. LARGE SIGNED BRONZE RELIEF OF A MOOR. 19th century. Finely rendered high profile representation of a Moorish prince in Orientalist style. Signed Frapn? in ornate Orientalist script at top. Bronzed iron. 15 x 24 inches, 25 lbs. Suspension loop on verso. Artist identification appreciated.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, October, 2004.


8085. HENRY-BONNARD BRONZE CO. BRONZE PLAQUE. Head of a young woman framed by berry sprigs. HENRY-BONNARD BRONZE Co. NY on verso. 8 x 8 inches. The Henry-Bonnard Bronze Company of New York City was a well know art foundry and did some of the finest casting in the United States. It operated under the name E. Henry & Bonnard from 1872 to 1881 and under The Henry-Bonnard Bronze Company from 1882-1926. They cast many large pieces and memorials dealing with American History and many art pieces including some by Frederick Remington. Very sharply cast.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, October, 2004.




8415. MARBLE BUST OF WAGNER. European, 19th century. Wonderfully carved bust of the famous German composer. 10.5 x 7.5 inches on a 3.5 inch base (small chip on rv. of base rim invisible from front). WAGNER inscribed at base.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, c. 2000.



8864. L. MORELLI. Italian, Florence. 1920's. 'Dancing Girl Reclining with Tamborine'. Sculpture in fine white Carrara marble, base in equally fine Portor marble. Signed 'S. Morelli - Florence, Galleria Romanelli' on back of base. The bare chested dancing girl wearing only a loincloth with tassels, her short cut hair reminiscent of the saucy flapper girls of the 20's. 15.75 inches on a 5 x 17.75 inch base of beautifully patterned black and golden grey Portor marble which offers a perfect contrast to the figure. Choice condition with no problems whatsoever and no repair or restoration.

L. Morelli, was an sculptor known for his beautifully and sensitively carved young nude girls in various poses. He used only the finest marble for the figures and bases, usually pure white Carrara marble for his figures, and Portor marble for his bases. Carrara marble is quarried only at the city of Carrara in the province of Massa and Carrara in the Lunigiana, the northernmost tip of modern-day Tuscany, Italy. Carrara marble has been used since ancient times by the Greeks and Romans for their finest statues,

Portor is a very rare marble quarried in Italy and in Corsica. It is known for its dark black color scattered with yellow veins. Sometimes these grooves are grey, the marble is then know as Portagent. The most beautiful Portor is dark black with deep yellow veins, like golden flames. Its name most likely comes from the town of Porto Venere on the Genoese coast where Louis XIV exploited quarries to decorate Versailles Palace. Much used in the 17th, 18th and up until the 20th century with the Art Deco style, for beautiful furniture, works of art and fireplace mantels. In his dictionary on business and industry, Blanqui describes Portor marble as the following, "the background of this marble is black and the veins are golden yellow, giving it its name Portor (golden door). It must be considered as one of the most elegant marbles, yet it is only really sought after once its quality leaves nothing to be desired. Portor comes from the golfe de la Spezia (Golfe de Gênes)". Front. Facing. Back. Signature.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, June, 1999.


9301. AFTER PIETRO BARZANTI. Italian, 19th-early 20th century. BUST OF APHRODITE OF MELOS (Venus de Milo). Sculpture in cast marble. Florence, late 19th century. Signed 'P. Barzanti Florence'. 10 x 16.5 inches. 34 lbs. Patch to base of stand which can easily be turned out of sight to the rear. Barzanti is a listed artist whose marble sculptures have brought up to $23,000 at major auction houses. This is an exceptionally fine copy of his work that is difficult to tell from the real thing.

Provenance: A private American collection. Acquired at the Birchwood Manor antiques show, NJ, November, 1999.




8080. SUPERB SEVRES FRENCH BISQUE BUST OF MME. LAISTRE. French, 1813. An exquisite early 19th century French sculptural bust of the famous noblewoman executed in the finest possible style. On an original ornate metal base hidden in shadow in the photos. Dimensions 8 x 17.5 inches including the metal base. V / J. G. (artist's initials) / Sevres mark / 4959 on verso base. 'Laistre, an. 1813' on the left side. The bust in perfect original condition with no repair or restoration. Sevres mark. Base. Identity mark. Back. Oblique left.

Genevieve de Laistre, (1643-1708), daughter of the lieutenant general of the Compte de Clermont, whose valuable dowry of landholdings included the chateau de Thury in the Oise, became the wife of the famous astronomer Cassini and appears as the Moon Maiden on Cassini's maps of the moon. This hypothesis is supported by the fact that Cassini commissioned a pen-and-ink portrait of his wife in 1678. The name of the artist was Jean Baptiste Patigny, the son of the artist and engraver of the map of the Moon.

Jean Dominique (Giovanni Domenico) Cassini, (1625-1712), was one of the greatest astronomers of his time, and the creator of French astronomy, "the one who picked up the torch of Astrophysics, fallen off Galileo's hands" (Andre Danjon). Cassini discovered the four major moons of Saturn and the eponymous Cassini division of Saturn's rings, He was born, on June 8, 1625, in Perinaldo, a village of the hinterland between Vintimiglia and Bordighera, today in the Ligurian province of Imperia (Italy), but at the time in the County of Nice. After his studies at the Jesuit College at Genoa, he was named professor at the University of Bologna in 1651. His first observations were devoted to the Sun, and carried out with the meridian line, that he had built in San Petronio church. In 1673 he married Genevieve de Laistre, daughter of the Count de Clermont's lieutenant-general, who was a King's adviser, and bought the castle of Thury, near Beauvais, which became his family residence.

Sevres porcelain is the world's finest. The manufacture nationale de Sevres porcelain factory in Sevres, France was formerly a royal, then an imperial factory. The facility is now run by the French Ministry of Culture. It was founded in 1738 with the support of Louis XV and Madame de Pompadour and has been producing the world's finest porcelain ever since. Notable artists such as Auguste Rodin, Francois Boucher, and Tiepolo have done work for them. This exquisite bust is an exemplary example of their long tradition of excellence.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, October, 2004.


7967. ORIGINAL LARGE SIGNED RUBBER MOLD FOR A CLASSICAL RELIEF, late 19th - early 20th century. The mold depicting a semi-nude female artist holding brush and palette in a detailed studio setting, probably representing the muse of painting. 13 x 24 inches. Small split in one border should not affect casts made from the mold, each of which could be sold separately. Photographed with light from below to show form of cast (features will be clear and face will not be shadowed in cast). Signed K. Sterrer 892.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, September, 2004.


7968. ORIGINAL LARGE SIGNED RUBBER MOLD FOR A CLASSICAL RELIEF, late 19th - early 20th century. The mold depicting a classical male figure holding scuptorís chisel and hammer in a detailed studio setting, probably representing scupture. 13 x 24 inches. Excellent condition and fully capable of producing casts each of which can be sold separately. Photographed with light from below to show form of cast (face will not be shadowed in cast). Signed K. Sterrer 892.

Provenance: A private American collection. Acquired at Berman's Auction, NJ, September, 2004.