The Andy Yoon Collection

Dante Alighieri. Giovanni Maria Benzoni. Marble inscribed "G.M.BENZONI ROME 1878" 84cm high. Giovanni Maria Benzoni (1809-1873) was a pupil of Giuseppe Fabris at the Academy of Saint Luc in Rome. Equally renowned for his classical subjects and religious work, Benzoni was a favoured sculptor of Pope Pius IX, and received commissions from many English and Russian aristocratic families. He also executed architectural sculptures for the Imperial Theatre, St Petersburg, exhibited at the Great Exhibitions and represented the Vatican at the Antwerp International Exhibition. Benzoni was profoundly influenced by Antonio Canova.

Giovanni Maria Benzoni. When he became an orphan, the young sculptor was given hospitality by Earl Luigi Tadini and became the first pupil of his school. The difference in style between an Francesco in

Estasiٛ, still close to A. Fantoni works (a famous Brescia ceramist and sculptor), and

nverno e Primaveraٛ shows the beginning of his artistic growth: he studied and reproduced

Canova's works as we can see in his reproduction of the he Tadini Steleٛ, commissioned by Earl Luigi with the intention of testing the young man's abilities with marble. At a later date, the Earl commissioned a marble sculpture, the so-called arte Dormienteٛ,

which Benzoni sculpted ola natura docenteٛ. The sketch, set in Rome, gave him entry to the studio of Giuseppe Fabris. In Rome, Benzoni became one of the most important sculptors of his time. On becoming famous, Benzoni dedicated a monument to Earl Tadini, which had been commissioned by the latter in 1839, which the artist completed in 1858. In this solemn marble sculpture, Benzoni portrays himself as a child, while the Earl, with a friendly gesture, frees him from poverty, directing him towards the elle Artiٛ, symbolized by the palette, the chisel and musical instruments.

Dante Alighieri, by Giovanni Maria Benzoni Angelo Luswergh (1793-1858), photographer

CARACTACUS J.H. FOLEY (IRISH, 1818-1874) BRONZE 79cm high John Henry Foley, RA (1818-1874): John Henry Foley was probably the most influential sculptor working in Europe during the middle decades of the 19th century. A champion of Britain¢®¯s imperial values, his breathtaking equestrian masterpieces strode across city squares and parklands from Dublin to Calcutta. Queen Victoria personally requested that the Irishman create the statue of her beloved Prince Albert which sits at the core of the Albert Memorial. When Foley died in 1874, the Queen decreed that he should be buried in Westminster Abbey. Few of those who attended his funeral knew about his humble origins in the back streets of

Dublin where his father was a grocer and his grandfather an amateur sculptor. The child prodigy mastered his craft under the brilliant Edward Smyth at the Royal Society Schools in Dublin. He arrived in London aged 18 on the eve of Queen Victoria¢®¯s reign and gradually rose through the ranks to become one of the most celebrated members of the Royal Academy. At the time of his premature death aged 54, his workshop was filled with incomplete commissions. The complexity of his life was such that, amongst these, were the aforesaid statue of Prince Albert, the towering monument of Irish nationalist icon Daniel O¢®¯Connell that dominates central Dublin today, and the statue of Confederate General Stonewall Jackson in Richmond, Virginia.

Seated Voltaire Jean-Antoine Houdon (French, 1741-1828) Bronze With a Barbedienne foundry mark. Inscribed "Houdon Fecit 1781" Also marked "A. Manigot" on base

68cm high Jean-Antoine Houdon (20 March 1741 – 15 July 1828) French neoclassical sculptor. Born in Versailles. Houdon is famous for his portrait busts and statues of philosophers, inventors and political figures of the Enlightenment. Houdon's subjects include Denis Diderot (1771), Benjamin Franklin (1778-09), Jean-Jacques Rousseau (1778), Voltaire (1781), Molière (1781), George Washington (1785–88), Thomas Jefferson (1789), Louis XVI (1790), Robert Fulton, 1803–04, and Napoléon Bonaparte (1806). Houdon won the Prix de Rome in 1761 but was not greatly influenced by ancient and

Renaissance art in Rome. His stay in the city is marked by two characteristic and important productions: the superb écorché [1] (1767), an anatomical model which has served as a guide to all artists since his day, and the statue of Saint Bruno in the church of Santa Maria degli Angeli e dei Martiri in Rome. After ten years stay in Italy, Houdon returned to Paris. Houdon's portrait sculpture of Washington was the result of a specific invitation by Benjamin Franklin to cross the Atlantic specifically to visit Mount Vernon, so that Washington could model for him. Washington sat for wet clay life models and a plaster life mask in 1785. These models served for many commissions of Washington, including the standing figure commissioned by the Legislature of Virginia, and located in the Virginia State Capitol in Richmond. Numerous variations of the Washington bust were produced, portraying him variously as a general in uniform, in the classical manner showing chest musculature, and as Roman Consul Lucius Quinctius Cincinnatus clad in a toga. A cast of the latter is located in the Vermont State House. Houdon's sculptures were used as models for the engravings used on various U.S. Postage stamps of the late 19th and early 20th centuries which depict Washington in profile. Houdon became a member of the Académie de peinture et de sculpture in 1771, and a professor in 1778. Perceived as bourgeois for his connections to the court of Louis XVI, he fell out of favor during the French Revolution, although he escaped imprisonment. Houdon returned to favor during the French Consulate and Empire, being taken on as one of the original artistic team for what became the Column of the Grande Armée at Wimille. Houdon died in Paris and was interred at the Cimetière du Montparnasse. He was a member of the masonic lodge Les Neuf Sœurs. Houdon's depiction of the celebrated philospher François-Marie Arouet, called Voltaire, are among his most iconic images. His bust, executed in marble and placed on view in the artist's studio in March 1778 was viewed by 'all of Paris', and the full-size seated figure was completed for Voltaire's niece, Mme Denis, by 1780 (Jean-Antoine Houdon - Sculptor of the Enlightenment, op. cit., p. 349). Interestingly, the full-size model was actually preceded by a small gilt-bronze version made for the Russian Empress Catherine the Great, one of the philosopher's most devoted correspondents and admirers. COMPARATIVE LITERATURE: L. Réau, Houdon - son vie et son oeuvre, Paris, 1964, III and IV, no. 35, p. 19, pls. XXX and XXXI. Washington, Los Angeles and Versailles, National Gallery of Art, J. Paul Getty Museum and the Musée et Domaine de Versailles, Jean-Antoine Houdon - Sculptor of the Enlightenment, 4 May 2003 - 25 January 2004.

Courage PAUL DUBOIS (French 1829-1905) BRONZE signed in the bronze. F. Barbedienne foundry.

Height: 34 1/2".86츠

A Florentine Singer Paul Dubois Signed and dated P. Dvbois 1869 inscribed F. Barbedienne Fondeur reduction stamp 78cm high

Charity PAUL DUBOIS (French 1829-1905) BRONZE signed in the bronze. F. Barbedienne foundry.

Height: 66츠 Paul Dubois (July 18, 1829 - May 23, 1905) A significant French sculptor and painter. He was born at Nogent-sur-Seine. He studied law to please his family, and art to please himself, and finally adopted the latter, and placed himself in the atelier of Armand Toussaint (1806–1862), a former pupil of David d'Angers. After studying at the École des Beaux-Arts, Dubois went to Rome. His first contributions to the Paris Salon (1860) were busts of The Countess de B and A Child. For his first exhibited statues, The Infant St John the Baptist and Narcissus at the Bath (1863), he was awarded a medal of the second class. The statue of the Infant St John, which had been modelled in Florence in 1860, was exhibited in Paris in bronze, and was acquired by the French State for the Musée du Luxembourg. A Florentine Singer of the Fifteenth Century (depicted in doublet and hose playing a lute), for a time one of the most reproduced statuettes in Europe, was shown in 1865. A Virgin and Child appeared in the Exposition Universelle (1867); The Birth of Eve was produced in 1873, and was followed by striking busts of Jean-Jacques Henner, Dr Joseph Marie Jules Parrot of the Hôpital des Enfants, Paul Baudry, Louis Pasteur, Charles Gounod and Léon

Bonnat,remarkable alike for life, vivacity, likeness, refinement and subtle handling. A bronze reproduction of Dubois' Military Courage statue in Mount Vernon, Baltimore. The chief work of Paul Dubois was The Tomb of General Lamoricière in the Cathedral of Nantes, conceived in the Renaissance spirit, with allegorical figures and groups representing Warlike Courage, Charity, Faith and Meditation, as well as bas-reliefs and enrichments; the two first-named works were separately exhibited in the Salon of 1877. The medallions represent Wisdom, Hope, Justice, Force, Rhetoric, Prudence and Religion. The statue of the Constable Anne de Montmorency was executed for Chantilly, and that of Joan of Arc (1889) for the town of Rheims. The Italian influence which characterized the earlier work of Dubois disappeared as his own individuality became clearly asserted. As a painter he restricted himself mainly to portraiture. My Children (1876) being probably his most noteworthy achievement. His drawings and copies after the Old Masters are of peculiar excellence: they include The Dead Christ (after Sebastian del Piombo) and Adam and Eve (after Raphael). In 1873 Dubois was appointed keeper of the Musée du Luxembourg, at the time the repository of the national collection of modern art. He succeeded Jean-Baptiste Claude Eugène Guillaume as director of the École des Beaux-Arts, 1878, and Jean-Joseph Perraud as member of the Académie des Beaux-Arts. Twice at the Paris Salon he obtained the medal of honour (1865 and 1876), and also at the Exposition Universelle (1878). He also won numerous other distinctions, and was appointed grand cross of the Legion of Honour. He was made a member of several European orders, and in 1895 was elected an honorary foreign academician of the Royal Academy, London. He died in Paris in 1905 A German bronze figure of a swordsman, on square plinth and marble base, signed and with foundry mark, H : 23ins. Professor Hugo Lederer (November 16, 1871, Znaim (Znojmo) - August 1, 1940, Berlin) was a Moravian-born German sculptor. Lederer studied in Dresden under sculptor John Schilling from 1890, then briefly under Christian Behrens. His greatest success came in 1902 with the commission for a Bismarck tower in the center of Hamburg. In 1919 Lederer went to the Academy of Arts in Berlin; among his students was Josef Thorak. Lederer's last major work was for the Krupp organization. Lederer is buried in Wilmersdorfer Waldfriedhof in Stahnsdorf near Berlin. The Gladenbeck Berlin Foundry is where the finest German bronzes were cast in the 19th and early 20th century. Only the finest quality pieces were cast at this foundry. It was Germanys answer to the Barbedienne foundry where many of the finest French bronzes were cast. Any time you see Barbedienne or Gladenbeck on the side of an antique bronze you know you have an important high quality sculpture. Footnote: The Gladenbeck foundry was founded by Carl Gustav Hermann Gladenbeck in 1851 and was run by various family members and shareholders until the early years of the 20th century. In 1857 the company relocated to Berlin, and in 1888 became Aktien-Gesellschaft H. Gladenbeck und Sohn; directed by Hermann Gladenbeck and sons Oskar and Alfred. Related Literature: Harold Berman; Encyclopedia of Bronzes, Sculptors & Founders, vol 4, 1800-1930, Abage Chicago, 1980.

Figure of a labourer Karl Perl (Austrian 1876 - ?) circa 1910 Bronze , Standing, rolling a cigarette and in contemplative pose, Dark brown patination, Signed to base. Height 26 ins. Karl Perl (1876-?) an Austrian sculptor and engraver was born in Liezen (a city in the Austria state of Steiermark) on March 3, 1876. The majority of Perl's sculptures are relatively small (under 2 feet). He studied under Hellmar, Zumbusch and Kundmann and worked in Vienna as a sculptor of figures, busts, bas-reliefs as well as medals and medallions. Among others, he produced a series of small plaques depicting scenes from popular folk and fairy tales.

The bronze has a length of approx. 41 cm, a height of approx. 39.5 cm and a width of approx. 22 cm. The weight amounts to 11.5 kg! With the figure it concerns the representation of a big horse. An athletic naked man sits on the horse. On the right of it a naked woman, the left arm lassiv laid on the horse backs, stands. The man bends down and embraces the woman, while he gives her one kiss, the parting kiss. I Schmidt-Kestner is a descendant of Charlotte Buff in the fourth generation. Charlotte Buff got a monument trough Goethe in "The sorrows of young Werther"! Kestner was born in 1877 and died in 1941. In 1901 he received for his work the silver medallion of the art, in 1904 even the golden medallion. During the First World War he was a soldier in France, Russia and in the Alpine corps. Still today his former studio in the Offenbacher street in Berlin - Friedenau is an artist's studio. -- Theodore Gechter, French (1796-1844): A 19th century bronze figural group depicting Quentin Durward saving Louis XI from a boar.Durward on horseback spearing the boar, with two dogs attacking the animal and the king, on a naturalistic base inscribed LOUIS XI ET QUENTIN DURWARD W. SCOTT.Quentin Durward is a historical novel by Walter Scott, first published in 1823. The story concerns a Scottish archer in the service of the French King Louis XI (1423-1483).41 by 40cm., 16 1/8 by 15¾in.

"Souviens-Toi!" Henri-Emile Allouard (1844-1929)Cast bronze with brown patina, signed H. Allouard on the base, approx. 29-3/4"H, with the base approx. 12" in diameter. The figure group is of a man and a boy standing on naturalistic ground, with what appears to be a helmet partially covered under the man's foot. "Societe des Bronzes de Paris" is inscribed in the side of the base and there is an applied metal nameplate at the front of the base that reads "Souviens-toi!.....Salon des Beaux Arts".

A cast bronze with brown patina rendition of the masterpiece of Renaissance sculpture by Michelangelo in St. Peter's Basilica in Vatican City. The bronze measures approx. 23"H x 21"W 12"D; no founder's or maker's marks found. Possibly one of the most iconic religious images since the original was created in 1499, it has been copied in a multitude mediums and sizes for its inspirational beauty. The naturalistic depiction of Christ and the emotion of Mary are skillfuly rendered in this large statuette.

THE PUGILIST Bruce Wolfe (American born 1941, contemporary) signed and dated 1998, this cast being No.1 from an edition of 30. patinated bronze, 27 in. Light grime. Provenance: The Estate of the Late William L. Montague, Jr., Lookout Mountain, Tennessee Bruce Wolfe was born March 29, 1941 in Santa Monica, California. He is a renowned Sculptor, Artist, Illustrator, and Designer, known for producing sculptures of and for many notable figures. Within his forty year career he created sculptures and busts of Barbara Jordan, Margaret Thatcher, former mayor Illus Davis of Kansas City, former Secretary of State George Shultz, Norman Shumway, and former Supreme Court Chief Justice William Rehnquist.[1][2] Bruce has resided in Northern California for most of his life. He studied art at the San Jose State University and the Art Institute of San Francisco. He has taught painting and sculpture, at the Academy of Art in San Francisco, and the College of Arts and Crafts in Oakland

California. He is also credited with creating a theatrical poster for Indiana Jones and the Temple of Doom.[citation needed] His work has been exhibited across New York, California, Paris, and at the Smithsonian. His awards include a Clio[disambiguation needed ], Endowment of Arts Federal Achievement Award, First Place at the Art of the Portrait Conference 2001, a Joseph Henniger Award, Zellerbach and Foster & Kleiser Awards.

Antoine-Louis Barye (French 1795-1875) a steer and a calf below a tree next to a shephard's gear

Inscribed on base "Barye" and stamped, "Froment Meurice"With base: 8" high, Circa - Mid 19th C