6634 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Antonio Canova, 1757 Possagno – 1822 Venedig, nachPAULINE BONAPARTE ALS VENUS VICTRIXHöhe: 95 cm.Breite: 116 cm.Tiefe: 43 cm.In Carraramarmor gearbeitet auf einer Basis in Rosso Levanto. Auf einem antikisierenden Ruhebett die darauf ruhenden Lieblingsschwester Napoleons, Pauline Bonaparte (1780-1825) darstellend. Sie heiratete 1803 Camillo Borghese und saß Modell für Canovas Skulptur, die sich heute in der Villa Borghese in Rom befindet. (1421394) (13)Antonio Canova, 1757 Possagno – 1822 Venice, afterPAULINE BONAPARTE AS VENUS VICTIXHeight: 95 cm. Width: 116 cm. Depth: 43 cm.Made of Carrara marble on a base in Rosso Levanto. Sculpture of Napoleon’s favourite sister, Pauline Bonaparte (1780 – 1825), resting on an antique-style daybed. She married Camillo Borghese in 1803 and sat as a model for Canova’s sculpture, which is now held at the Villa Borghese in Rome.

AFTER ALDO VITALEH: A lost wax bronze cast sculpture of a naked female figure with long hair on marble plinth. Apparently unsigned. Approx. 30 cms high. Est. £40 - £60.

Lorenzo Mattielli (1687-1748) - Follower, pair of marble groups, with Hercules slaying the Hydra and Hercules and Zerberus, on integrated bases, masterly sculpted white marble with grey veins, a pair, 64 and 70 cm high, models or after the monumnetal sculpture at the entrance of the Vienna Hofburg.

Saint Peter after the Monumental Sculpture in Vatican, bronze cast with original patina on sculpted white marble chair and base with red marble plates. Rome, 19th Century. 40 cm high.

A silvered metal sculpture of a walking upright bear, from the collection of Colonel Bob Henderson, turned to the right, on marble base —9 ¾in. (25cm.) high (finish rubbed and slight dent); and a photograph of Col Bob Henderson with this figure and Teddy Girl

BARYE ANTOINE-LOUIS: (1795-1875) French Sculptor of the Romantic period, most famous for his work as an Animalier, a sculptor of animals. Widely considered together with Rodin and Carpeaux as the three great French sculptors of the XIXth century. Although fame did not come until late in life, examples of his larger work include various lions and tigers in the gardens of the Tuileries and the Lion Assis ("Setaed Lion") exhibited at the Louvre museum in Paris. A rare autograph letter with excellent content, A.L.S., `Barye´, one page, 4to, Paris, 20th May 1858, to Mr. Séchan, in French. Barye in a clean writing accepts an order request that he received four months earlier for a sculpture which he values and describes in full detail, stating `J´accepte la commande que vous me faites à la date du 29 Janvier 1858, consistant en une: pendule se portant sur une cheminée, cette pendule représentera Apollon sur un char attelé de quatre chevaux, modèle de cette pendule et son épreuve unique; Mme Pérère restant propriétaire. Compris marbre et dorure, moins le mouvement. Prix convenu à forfait - 14000 Fr. Plus: Candélabres se plaçant de chaque côté de la pendule, pour le modèle et les deux épreuves uniques, Mme Pérère restant également propriétaire du modèle, compris marbre et dorure. Prix convenu à forfait - 6000 Fr. Il est Bien entendu qu´il ne restera des modèles que les fragments des plâtres plus ou moins endommagés qui auront servi à la fonte des épreuves uniques.´ (Translation: "I accept the order that you made to me on January 29th, 1858, consisting of a: clock which will represent Apollo on a chariot drawn by four horses, model of this clock and its unique proof; Mrs. Pérère remaining the owner. Including marble and gilding, less the machinery. Agreed fixed price - 14,000 Fr. Plus: Candelabra to be placed on each side of the clock, for the model and the two unique proofs, Mrs. Pérère also remaining the owner of the model, including marble and gilding. Agreed fixed price - 6,000 Fr. It is understood that only the fragments of the more or less damaged plasters that will have been used to cast the unique proofs will remain.") With address leaf, postmarked and stamped. Very small minor creasing, otherwise VGThe sculpture detailed and valued by Barye in the present letter is a bronze with a height of 80cm, it is considered one of the summits of the artist's work.The critic Paul Manz described the present work this way `Apollon, conduisant son char, se présente de face; des deux côtés s´avancent les Heures, figures légères qui tiennent la bride des cheveaux. Les types sont empruntés à ce que l´antiquité nous a laissé de plus pur et de plus charmant; les cheveaux d´Apollon sont admirables dans leur allure savamment rythmée... Nous ne connaissons, parmi les productions de l´art industriel moderne, aucun oeuvre qui puisse lui être comparée, et Versailles, au temps de ses splendeurs, n´a rien eu de plus beau dans son mobilier royal´ (Translation: "Apollo, driving his chariot, is presented front face; on both sides advanced the Hours, light figures holding the bridle of the horses. The types are borrowed from what antiquity has left us of the purest and most charming; Apollo's horses are admirable in their skillfully rhythmic allure... We do not know, among the productions of modern industrial art, any work that can be compared to it, and Versailles, at the time of its splendors, had nothing more beautiful in its royal furniture")We learn with this letter that the original model was the property of "Madame Pérère", who was the wife of the banker Isaac Pérère, who placed the order with Barye for his hotel in the Faubourg Saint-Honoré.The work is at today´s date exhibited at the Musée d´Orsay in Paris.

AFTER CANOVA, A WHITE MARBLE FIGURE OF VENUS ITALICA PROBABLY ITALIAN, 19TH CENTURY Her left arm across her body, her right holding drapery with casket at her feet on shaped circular base 101cm high On a red scagliola column pedestal, 124cm high 225cm high overall Provenance: Nidd Hall, acquired by Guy Reed from Richard Butler, 17th Viscount Mountgarret, in 1968 The Guy Reed Will Trust, Copgrove Hall, Yorkshire In 1802, Antonio Canova was asked if he would fashion a copy of the Medici Venus which Napoleon had removed from Florence to the Musée Napoléon in Paris. Although he agreed to make a copy, the sculpture that he eventually completed in 1811 was quite different from the Medici Venus. It shows a more modest figure, who largely covers her nakedness with a large swag of drapery and lacks the dolphin and the figure of Cupid that accompany the Medici Venus. Canova produced various versions of this figure: the original now in the Palatine Gallery of The Pitti Palace another in the Residenzmuseum in Munich, and the third in Hearst Castle, San Simeon, California, (formerly in the Lansdowne Collection). A fourth version was sold from the Londonderry collection in 1962 and is today in the Metropolitan Museum of Art, New York. In 1820 he also completed a version for Thomas Hope (1769-1831). This version, which Canova in fact liked best of all those he had made, was rather closer in appearance than the others to the Venus de'Medici. It is now in Leeds City Art Galleries. Condition Report: Figure- generally good condition with slightly waxy feel to surface- natural small inclusions and veining, some infill to spotted inclusions from the making. 4-6cm area of loss to raised edge of her drape- to her lower left, some natural flaws visible under strong light- plinth with some scuffs, marks and a small area of what looks to be a knock. Pedestal- losses around the top edge, surface scuffing to shaft, some loss to base edges and corners Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

Y A PAIR OF FRENCH MAHOGANY, EBONY AND ORMOLU MOUNTED BEDSIDE CABINETS POSSIBLY BY PAUL SORMANI, LATE 19TH CENTURY Each with a marble top and interior 82cm high, 41.5cm wide, 33cm deep Provenance: Bonhams London, Fine European Furniture, Sculpture and Works of Art (17831), 9th December 2010, Lot 168 (£11,400 incl. BP) Property of a Gentleman, London Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There is some cracks and repair to the marble tops with the use of some filler. There is a crack to one of the interior marble panels.Three of the gilt metal screw stops for the drawers are missing for the mahogany drawer linings. The doors when closed go slightly too far and require stops.There is some subtle sun fading.Some small bending to one edge of the pierced gallery with a tack missing to this section.Excellent selection of cuts of timber and the ormolu mounts have good detail and depth.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A WHITE AND MIXED MARBLE BUST OF A WOMAN ALL'ANTICA ITALIAN, 19TH CENTURY AND POSSIBLY EARLIER With white marble head probably Italian late 19th century in the Antique manner, set in veined grey and red Africano(?) marble and bronze shoulders, probably older, on a green marble socle 63cm high overall Literature: A. Furtwängler, Neuere Faelschungen von Antiken, Berlin and Leipzig, 1899, p. 8-9, fig. 4-6 For related specimen marble busts, see Christie's, Important European Furniture, Sculpture & Clocks (7745), 9th July 2009, Lot 77 (£63, 650 incl. BP) and Important European Furniture and Sculpture (7608), 10th July 2008, Lot 143 (£22,500 incl. BP). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The head with surface marks and some staining- possibly to suggest greater antiquity, set in a white composite or mixed material to disguise edges and to run better into shoulders- this is mostly visible to edges of sternum and reverse of neck. The shoulders with extensive restoration and repairs Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer

Zachariah Njobo (Zimbabwe, 1962) a large marble sculpture. Signed verso. H83cm

A carved marble bust of Plautilla, late 18th/early 19th century, Italian, after the antique, raised on a turned wooden socle, 36cm wide 15cm deep 58cm high including socle The present busts depicts the young Publia Fulvia Plautilla (d.211 CE), after an antique marble sculpture of the third century CE in the Grand Ducal Gallery at the Uffizi in Florence. The Grand Duke, Cosimo III de'Medici (1642-1723), had this displayed alongside another marble bust of her brother-in-law, Publius Septimus Geta, son of emperor Septimus Severus and younger brother of her husband, Emperor Caracalla; both were supposedly murdered by Caracalla in 211 CE. Although similar in date and style, they were probably not designed as a pair, but they acted as the source of many Grand Tour copies to meet the British appetite for all things Antique in the 18th century. Condition ReportThe bust alone is 50cm high.

Day of the dead Mexican sugar skull sculpture in the type of faux stone signed on a marble base Height 21 cm Approx. 5kg

ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.

CONTEMPORARY SCHOOL MONKEY SCULPTURE, bronze on marble base, 47cm H.

Conrad Portalis (French, 1890-1969), large bronze sculpture on an oval marble plinth. En nom de Dieu en avant (Forward in the name of God). Heroic bronze, depicting a rider on a rearing horse, with a raised Christian banner. The collective image of the army of Christ (St. George, Jeanne D-Arc, etc.), defenders and servants of the faith. In a more general sense, it is an image of goodness with fists. Patinated bronze. Signature on the pedestal, approximate dimensions without base H - 80 cm, 45 x 25 cm. Width: 48cm, Height: 88cm, Depth: 30cm, Weight: 15kg, Condition: Good, Material: Marble, ID: ID-ANTQ-3655

Marble sculpture Bathing of Venus. 19th-20th century. Marble sculpture Bathing of Venus. The textbook iconography dates back to the Roman example of the same name from the 2nd century BC. The goddess sits down and draws water from a sacred spring. Multidirectional movements of the hands and head focus attention on the gaze, as if containing a question about the nature of the divine. The gaze is turned to the water or reflection. Leaving a jug prolongs the time of contemplation. Figure dimensions: 89x50x49 cm. Weight: 120 kg. Width: 50cm, Height: 89cm, Depth: 49cm, Weight: 120kg, Condition: Good, Material: Marble, ID: ID-ANTQ-8556

Figural sculpture of couple dancing. Colored in bronze set on black marble base. Steve Miller etched mark. Artist: Steve MillerIssued: 20th centuryDimensions: 10"L x 4"W x 13.75"HCountry of Origin: United StatesCondition: Age related wear.

Guglielmo Pugi (Italian, 1850-1915) Girl with a Butterfly White Marble Signed 'Pugi' See Sotheby's London, 'European Art: Paintings & Sculpture', June 18th 2020, lot 38 (est. £20,000-30,000) Dimensions: 32 in. (H) x 7.5 in. (W)

Jacques Lipchitz(1891 Druskininkai/Litauen - 1973 Capri) nach"Homme à la guitare"/"Man with a Guitar". OriginaltitelWeißer Marmorguss. Posthum ausgeführte Arbeit nach der berühmten kubistischen Kalksteinskulptur des Bildhauers von 1915 (im Museum of Modern Art in New York), das im selben Jahr sein Galerist Léonce Rosenberg in Paris zeigte und damit für Aufsehen sorgte. Lipchitz schuf ein sehr abstraktes, aus einfachen geometrischen Formen additiv komponiertes Werk, bei dem man auf den ersten Blick nicht die Teile erkennt, aus denen der menschliche Körper besteht. Dieser Ansatz korrespondiert mit den kubistischen Gemälden Pablo Picassos und zeitgleich entstandenen Skulpturen Alexander Archipenkos. H. 92 cm.After Jacques Lipchitz (1891 - 1973). Contemporary, posthumous marble cast sculpture after the original limestone sculpture in the Museum of Modern Art in New York.

Snejana Simeonova(Geb. in Sofia. Tätig in Bulgarien) Weibliche StatuetteBronze, dunkel patiniert u. schwarzer Marmor. Auf der Unterseite sign. u. dat. (19)90. Auf einer querovalen Plinthe stehender, stilisierter, zur Seite geneigter Halbakt mit abgeplattetem, überdimensional breitem Oberkörper. Die Bildhauerin studierte 1971-1977 an der Akademie der Bildenden Künste in Sofia, hatte seitdem mehr als 20 Einzelausstellungen und 100 Gruppenausstellungen, nahm an über 35 internationalen Bildhauer-Symposien teil, wobei sie eine Reihe von Auszeichnungen erhielt. Ihre Arbeiten befinden sich u. a. in der Nationalgalerie in Sofia. H. 60,5 cm Beigefügt: Zertifikat von Peter J. Orth, Peter J. Orth-Haus, Bonn, 11.8.1998.Dark patinated bronze and black marble sculpture. Signed and dated (19)90. Accompanied by a certificate.

FERDINAND PREISS (1892-1943)Joueur de mandoline, n. 1154Circa 1925Bronze patiné, ivoire, onyx et marbreH: 59 cm. (23.1/4in.); L: 17 cm. (6.5/8in/); P: 16,6 cm. (6.1/2in.)A 'Mandoline player' sculpture in patinated bronze, ivory, onyx and marble by Ferdinand Preiss circa 1925.Footnotes:Bibliographie :A. Shayo, Ferdinand Preiss. Art Deco Sculptor. The fire and the flame, Ed. Antique Collector's Club, Woodbridge, 2005, p. 159This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Sven BERLIN (1911-1999) Bird Ascending: Marble - Drawing for Sculpture, 1986 Ink on paper, monogrammed, inscribed and dated '86, image 25 x 15cm, framed 48 x 37cmExhibited - The Belgrave Gallery, London - Sven Berlin, 1989, No.86 (label verso)

A 19th Century bronze sculpture of a recumbent lion, raised upon a rectangular marble base, unsigned, 18 x 8 x 10cms high.

AFTER GEORGE DEMANGE (French, 1865-1945), patinated bronze - 'Bretonne au Gui', head and shoulders sculpture of a maid of Breton wearing characteristic headdress, modelled on books and mistletoe, signed, foundry stamp, numbered 6/9484, on pink marble plinth applied with applied engraved title plaque, c. 1900, overall 32.5cms (h)Provenance: deceased estate Vale of GlamorganComments, minor rubbing commensurate with age, plaque engraved 'Salon des Beaux Arts'

Bronze sculpture of fighting cattle on a marble plinth stamped Clesinger 24x8cm 14cmH

A Bronze Moose sculpture signed Milo on a marble base 25x12cm 31cmH

A cast-bronze sculpture of a golfer, unsigned, on marble plinth base, overall height approx 15.5cm

Venetian School. 17th Century. Orazio Marinali's workshop (Bassano del Grappa, Italy, 1643 - Vicenza, 1720)"Allegory of winter"Carrara marble sculpture.81 x 61 x 23 cm.This lot came from importation, so it has guaranteed export license from the Spanish Ministry of Culture.

Italian School. 19th century."Memento Mori"Marble sculpture.76 x 54 x 25 cm.

Joseph Nollekens (British, 1737-1823): A carved marble portrait bust of William Pitt the Younger (British, 1759-1806)The sitter looking slightly to dexter, signed and dated to the rear Nollekens Ft. 1810, the waisted circular socle inscribed to the front R.T HON. BLE WILLIAM PITT, BORN MAY 28.TH 1759, DIED JAN.Y 23. D 1806, 71cm high overall, 43.5cm wide, 28cm deep approximatelyFootnotes:ProvenanceChristie's, South Kensington, London, 9 April 2003, Lot 492.Private collection.Sotheby's, London, Old Master Sculpture & Works Of Art, 4 December 2018, Lot 113. William Pitt the Younger (1759-1806) became Prime Minister at the age of 24 in 1783. Critical of King George III's influence on Parliament, he sought to limit the monarchy's authority. His greatest opponent was Charles James Fox, with whom he shared a common goal of promoting parliamentary reforms that would enhance freedom. He served in office for nearly half his life and led the nation through the most tumultuous years of the Napoleonic Wars, dying at the age of 46. However the constant stress of his years in power exacerbated by copious amounts of port (ironically recommended by his own doctor for ill health) left him utterly drained. Those who saw him in his final weeks described him as a frail and worn-out man with lifeless eyes and a hollow voice. This was undoubtedly because although Lord Nelson's triumph at Trafalgar had averted an imminent invasion, Napoleon's decisive victory at the Battle of Austerlitz made him supreme ruler of continental Europe. This devastating defeat shattered the fragile alliance that Pitt had spent years carefully crafting. The news of Austerlitz was widely perceived as the final fatal blow to Pitt's political career and he reputedly uttered the immortal words, 'Oh my country! How I leave my country...' just prior to his untimely death in early 1806..Nollekens's sculpture of Pitt, who became Britain's youngest prime minister, remains one of his most renowned works, despite being created during an unflattering period in Pitt's life. During the Premier's lifetime, Pitt and Nollekens had a disagreement over the inscription on a sculpture commemorating three naval captains: William Bayne, William Blair and Lord Robert Manners. The monument remained unveiled for several years after its completion because Pitt refused to supply the eulogy. In frustration, Nollekens turned to the monarch for help, enraging Pitt, who refused to pose for the artist. As a result, Nollekens's portrait of Pitt, which was ultimately created using a death mask, was completed posthumously. The original sculpture, created in 1806, can be found in the possession of the Earl and Countess of Rosebery at their residence, Dalmeny House, located just outside Edinburgh. The offered bust exhibits similar characteristics to this bust, including finely carved locks of hair to the sitters' head. Nollekens and his workshop are thought to have produced over seventy replicas of this celebrated bust, providing the sculptor with a steady income in the later part of his life.A comparable bust of William Pitt was sold Christie's London, 7 December 1993, lot 88, signed and dated 'Nollekens Ft. 1807'. Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).Related LiteratureAileen Dawson, Portrait Sculpture, A catalogue of the British Museum Collection c.1675-1975, British Museum Press, 1999.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Sir William Hamo Thornycroft (British, 1850-1925): A patinated bronze model of TeucerThe standing figure of the male nude holding his bow in his outstretched left hand, raised on a circular naturalistic base, signed and dated HMO.THORNYCROFT 1881, and numbered 14 twice to the base, 77cm highFootnotes:Hamo Thornycroft's 'Teucer', modelled after the celebrated Italian life model Orazio Cervi, known for his 'perfectly proportioned physique', was first exhibited in plaster at the Royal Academy in 1881. The following year, the monumental bronze version was unveiled, and both the plaster and bronze were met with widespread acclaim. Thornycroft intended to create a series of athletes engaged in English sports, primarily focusing on studies of the nude. He exhibited one such piece, 'Putting the Stone', in 1880, but with Teucer, he was able to explore a long-desired composition involving the right angle. The subject for the model is drawn from The Iliad, depicting Teucer, the archer who failed to hit Hector eight times. Thornycroft depicts him in a tense, strained position, shooting one last arrow and intently watching its flight. The Homeric theme lends a romantic and dignified quality to the model, with Teucer representing a masterful study of the male nude at its peak of action. Thornycroft's 'Teucer' follows in the tradition of Leighton's 'Athlete Wrestling with a Python', but is perhaps more classical and graceful. As Thornycroft's biographer E. Manning noted, 'The care and attention he lavished on each individual casting of those works available in limited editions, such as Teucer or The Mower, not only demonstrates his professional artistic commitment, making each piece a unique work of art, but also reflects... a desire to bring art into the home.'Thornycroft studied Greek art at the British Museum and was admitted to the Royal Academy School in 1869, winning a gold medal in 1875. He became a pivotal member of the English New Sculpture movement, arguably the first to attract universal acclaim for his work from both the established art world and his fellow artists. His emphasis on the naturalistic qualities of the figure, together with his initial refusal to reject the neo-classical style, gave his work universal appeal.Related LiteratureJ. Cooper, Nineteenth Century Romantic Bronzes, David & Charles, London, 1975, p. 66.E. Manning, Marble & Bronze: The Art and Life of Hamo Thornycroft, London, 1982, p. 14.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Joseph Nollekens (British, 1737-1823) A carved white marble bust of Samuel Bateman DashwoodThe sitter with curling hair looking to dexter, his shoulders clad in classical folded drapery, signed and dated to the rear Nollekens Ft./1812, raised on turned circular socle, 68cm high overall, 45cm wide, 27cm deep approximatelyFootnotes:ProvenanceChristie's South Kensington, 18 September 2002, lot 568;Private UK collection.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 110.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).LiteratureI. Roscoe, E. Hardy and M. G. Sullivan, 'A Biographical Dictionary of Sculptors in Britain, 1660-1851', London, 2009, p. 909, no. 306This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Joseph Nollekens (British, 1737-1823) A carved white marble bust of Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834)The sitter looking slightly dexter, his shoulders clad in folded classical drapery, raised on a turned circular socle, 67cm high overall, 47cm wide, 23.5cm deep approximatelyFootnotes:ProvenanceProbably commissioned by the sitter Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834), 1812;Then by descent to his son William Cavendish, 7th Duke of Devonshire (1808-1891);Then by descent to Peregrine Andrew Morny Cavendish, 12th Duke of Devonshire (b. 1944), Chatsworth House, Derbyshire;Sold Sotheby's, Chatsworth: The Attic Sale, 5-7 October 2010, lot 364.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 109. ExhibitedLondon, Royal Academy of Arts, 1813, no. 925.LiteratureDevonshire House Inventory, 1892, possibly p. 37, in the South Sitting Room 'Bust of Cavendish';Chatsworth Handlist of Paintings and Sculpture, nd, 28;A. Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904, London, 1905, p. 382;S. Upton, 'Private Chatsworth', The World of Interiors, October 2001, p. 248;I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain, 1660-1851, London, 2009, p. 909, no. 314George Cavendish was the third son of William Cavendish, 4th Duke of Devonshire and his wife the former Lady Charlotte Boyle, daughter of Richard Boyle, 3rd Earl of Burlington. He later became Earl of Burlington of the second creation, a title held by his maternal forebears. Famously wealthy, Burlington purchased Burlington House from his nephew, the 6th Duke of Devonshire, and constructed London's Burlington Arcade along the west side of his residence, which itself was significantly elaborated.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument,  image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty]. 

*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature:  P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold.  Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty]. 

A collection of various studio ceramics; & a white marble sculpture in the form of three yacht sails.

Bronze sculpture of a dancing lady stood on a marble plinth. Unsigned. Height 38cm.

LADISLAV SALOUN (Czech / Bohemian 1870 - 1946) - Susan | technique: marble | 43 cm | signature: signed | condtion: restored | Lot description | Ladislav Saloun, an important Czech sculptor of the turn of the 19th and 20th centuries, is known primarily for his expressive and symbolist work. Characterized by delicate modeling and a calm, introspective atmosphere, this marble nude embodies his masterful work with the material and his ability to capture both the fragility and strength of the human figure. The sculpture is a typical example of Saloun's ability to combine naturalistic elements with a touch of idealism and symbolism, reflecting his deep artistic exploration of the human psyche and emotions. The work represents a timeless piece of modern Czech sculpture and is evidence of Saloun's contribution to the formation of Czech cultural identity. | condition report*In case of missing photos, please feel free to contact us.

REMBRANDT BUGATTI (French / Italian 1884 - 1916) - Gazelle | around 1900 | technique: patinated bronze, marble base, posthumous cast | 33cm x 34cm x 15cm (H x W x D) | signature: marked | Lot description | Bronze sculpture "Gazelle" by the renowned Italian-French sculptor Rembrandt Bugatti, known for his fascination with animals and their faithful rendering. Bugatti, who often worked directly in menageries and zoos, was able to capture the dynamism and elegance of animals with a unique sense of detail and movement. This gazelle sculpture stands out for its lightness, grace and delicate modeling, typical of Bugatti's work. The work represents a harmonious combination of realism and artistic expression, which makes it an exceptional example of animalistic sculpture from the early 20th century. | condition report*In case of missing photos, please feel free to contact us.

Anna Chromy, marble and bronze sculpture of a woman on a wave, limited edition 2/1063cm high. Condition - good

Paul PHILIPPE (1870-1930) ‘Danseuse russe’ Gilt bronze sculpture on red marble base, circa 1920-25, signed on the terrace. Normal wear, patina of use - Weight: 5.10 kg - Shipping unavailable - Region: France - Sizes: H 595MM x L 300MM

‘Couple of panthers’ Art Deco sculpture in patinated regula on marble base, circa 1930. Normal wear - Weight: 0 g - Shipping unavailable

After Jules Moigniez [1835-1984]A Large reproduction patinated Bronze sculpture of a highland stag. Sat upon a marble base. [Antler repaired] [75cm high]

λ&nbspGEORGE WEIL (AUSTRIAN, B.1938) 'ADAM AND EVE' SCULPTURE; MADE FOR WJ LTD; 1971 Silver, gold, lapis lazuli, freshwater pearl; mounted on a marble plinth base. Signed and marked 'No. 65' 35cm high Accompanied by a preparatory ink study for the sculpture, signed 'G. Weil' and dated '1971', 47 x 35cm.  

After Louis-Albert Carvin (French, 1875-1951), a bronze sculpture of a cow, signed 'L. CARVIN', on a marble plinth base, 17.8cm high

A Victorian 19th century lost wax bronze dog sculpture of labrador dog. Mounted on black stepped marble base. Signed ' Barie ' to the base.Measuring approx. 17cm x 16cm x 13cm.

This pewter and bronze figurine depicts a rider capturing a runaway horse. Crafted using a blend of fine metals, including lost wax bronze, fine pewter, brass, copper, 24-karat gold vermeil, and accented with hot torched acid patinas like black nickel, rose copper, and turquoise, the sculpture is mounted on a marble base. Legends backstamp en verso. Artist engraved signature C.A. Pardell along with hand signed artist signature and date in gold ink by artist Christopher Pardell. Gold colored arrowhead maker mark embedded into base. Artist: C. A. PardellIssued: 1991Dimensions: 11.75"L x 7.75"W x 8"HEdition Number: 930 of 950Manufacturer: LegendsCountry of Origin: United StatesCondition: Age related wear.

Bronze sculpture of a horse's head, mounted on a black marble base, 20cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).

A modern bronze sculpture of a cloaked figure on a square marble base, signed indistinctly, 42cm high

Klassizistische Marmorstatue nach dem hochklassischen Vorbild der Aphrodite der Gärten, um 1800 - frühes 19. Jhdt. Leicht unterlebensgroße, klassizistische Marmorstatue der Aphrodite nach dem Vorbild einer hochklassischen Skulptur des Alkamenes im Heiligtum der Aphrodite der Gärten. Die Skulptur des Alkamenes ist im späten 5. Jhdt. v. Chr. für das Heiligtum der Aphrodite am Fluss Ilissos in der Ebene von Athen geschaffen worden und nur aus Schriftquellen bekannt. Ein Fragment eines Oberkörpers aus dem Aphroditeheiligtum von Daphni nördlich von Athen wird als frühe Variation des Typs angesehen, der für zahlreiche Varianten einer "angelehnten Aphrodite" Vorbild war. Kopien aus römischer Zeit (u.a. im Museum von Heraklion und eine besonders gute Parallele zum vorliegenden Exemplar aus dem Louvre) geben eine genauere Vorstellung vom Typus. Charakteristisch sind der unverschleierte Kopf, die relativ hohe Stütze (Pfeiler oder Baum) unter dem leicht abgespreitzten linken Oberarm sowie die entblößte linke Schulter. Der rechte Arm ist angewinkelt. Das schräg nach vorne geschobene linke Bein kreuzt das rechte Standbein. Die Figur ist mit einem kunstvoll gefalteten, am Oberkörper gegürteten Chimation bekleidet. Haltung und Faltenwurf der vorliegenden Statue sind sehr eng an eine römische Kopie der hochklassischen Statue aus dem zweiten Viertel des 1. Jhdts. n. Chr. im Louvre angelehnt. Füße knapp oberhalb der Sprunggelenke abgebrochen. Die linke Hand mit dem vorderen Unterarm sowie der rechte Unterarm fehlen, gleichfalls der Kopf. Wohl bewusst als Torso geschaffen. Diverse leichte Bestoßungen. Oberfläche gründlich gereinigt. Modern auf schwarzem Steinsockel mit massivem Stahlstift montiert. Qualitativ ausgesprochen hochwertige Kopie eines bedeutenden hochklassischen Bildwerkes, das als Typus zahlreiche Werke der antiken Skulptur, Plastik und Kleinkunst inspiriert hat. Höhe ca. 108 cm (mit Sockel 135 cm), Breite ca. 54 cm, Tiefe ca. 30 cm. Provenienz: Aus der Sammlung Dr. H. Lanz, München. Erworben in den 1980er Jahren aus einer französischen Privatsammlung in Antibes. A Neoclassicistic marble statue based on the high-classical paradigm of the Aphrodite of the Gardens, circa 1800 - early 19th century A Neoclassicistic marble statue based on the high-classical paradigm of the Aphrodite of the Gardens, circa 1800 - early 19th century Slightly less than life-sized, neoclassicistic marble statue of Aphrodite based on a high classical sculpture of Alkamenes in the Sanctuary of Aphrodite in the gardens. The sculpture of Alkamenes from the late 5th century B.C. was created for the sanctuary of Aphrodite on the Ilissos River in the plain of Athens and is only known from written sources. A fragment of an upper body from the Aphrodite sanctuary of Daphni, north of Athens, is considered to be an early variation of the type that was the model for numerous variants of a "leaning Aphrodite". Copies from Roman times (including those in the Heraklion Museum and a particularly good parallel to the present example from the Louvre) give a more precise idea of the type. Characteristic are the uncovered head, the relatively high support (pillar or tree) under the slightly splayed left upper arm and the exposed left shoulder. The right arm is bent. The left leg, pushed forward at an angle, crosses the right supporting leg. The figure is dressed in an artfully folded chimation belted to the upper body. The posture and folds of this statue are very close to a Roman copy from the second quarter of the 1st century A.D. of the high-classical statue kept in the Louvre. Feet broken off just above the hocks. The left hand with the front forearm and the right forearm are missing, as is the head. Various moderate chips. Probably deliberately created as a torso. Surface thoroughly cleaned. Recently mounted on a black stone base with a solid steel pin. Extremely high-quality copy of an important, high-classical work of art, which as a type has inspired numerous works of ancient sculpture and minor arts. Height ca. 108 cm (with base 135 cm), width ca. 54 cm, depth ca. 30 cm. Provenance: From the collection of Dr. H. Lanz, Munich. Acquired in the 1980s from a French private collection in Antibes. Condition: II -

Klassizistische Marmorstatue nach dem Vorbild der hochklassischen Aphrodite des Typus "Fréjus", um 1800 - frühes 19. Jhdt. Unterlebensgroßer Marmortorso einer Aphrodite des Typus Fréjus. Das hochklassische Vorbild (um 420 v. Chr.) gilt als eine Schöpfung des Kallimachos. Von dem Typus existieren zahlreiche Kopien aus römischer Zeit in unterschiedlich feiner Ausführung (u. a. aus Pergamon und Delos sowie Exemplare im Museum von Neapel und im Louvre). Charakteristisch sind das linke Standbein und das rechte, zur Seite gestellte Spielbein. Die Figur trägt einen ungegürteten Chiton, der von der linken Schulter gerutscht ist und die linke Brust entblößt. Der Kopf ehemals zur Standbeinseite gedreht. Die erhobene Rechte zieht den über den Rücken gelegten Mantel, der seitlich über den linken angewinkelten Arm herabfällt, über die rechte Schulter. Der linke Unterarm nach vorne weisend. Füße knapp oberhalb der Sprungelenke abgebrochen. Die linke Hand mit dem vorderen Unterarm sowie der rechte Arm fehlen, gleichfalls der Kopf. Wohl bewusst als Torso geschaffen. Sorgfältig gereinigte Oberfläche. Modern mit schwerem Stahlstift auf einen schwarzen Steinsockel montiert. Bei der Montage wurde die Achse der Skulptur nicht ganz korrekt beachtet, sodass sie etwas nach rechts kippt. Qualitativ sehr hochwertige Kopie eines hochklassischen Bildwerkes, das als Typus zahlreiche Werke der antiken Skulptur und Kleinkunst inspiriert hat. Höhe ca. 90 cm (mit Sockel 108 cm), Breite ca. 44 cm, Tiefe ca. 30 cm.Provenienz: Aus der Sammlung Dr. H. Lanz, München. Erworben in den 1980er Jahren aus einer französischen Privatsammlung in Antibes. A Neoclassicistic Aphrodite statue modeled on the high-classical Aphrodite of the "Fréjus" type, circa 1800 - early 19th century A Neoclassicistic Aphrodite statue modeled on the high-classical Aphrodite of the "Fréjus" type, circa 1800 - early 19th century Smaller than life-size marble torso of an Aphrodite of the Fréjus type. The high-classical model (around 420 B.C.) is considered a creation of Kallimachos. There are numerous copies of this type from Roman times in varying degrees of fineness (including items from Pergamon and Delos as well as examples in the Naples Museum and the Louvre). The left supporting leg and the right free leg, which is set to the side, are characteristic. The figure wears an unbelted chiton that has slipped off the left shoulder, exposing the left breast. The head was previously turned to the supporting leg side. The raised right hand pulls the coat that is draped over the back over the right shoulder, which falls down to the side over the bent left arm. The left forearm pointing forward. Feet broken off just above the hocks. The left hand with the front forearm and the right arm are missing, as is the head. Probably deliberately created as a torso. Surface thoroughly cleaned. Recently mounted on a black stone base with a heavy steel pin, which does not perfectly match the axis of the statue and tilts slightly to the right. Very high quality copy of a high-class work of art, which as a type has inspired numerous works of ancient sculpture and minor arts. Height ca. 90 cm (with base 108 cm), width ca. 44 cm, depth ca. 30 cm. Provenance: From the collection of Dr. H. Lanz, Munich. Acquired in the 1980s from a French private collection in Antibes. Condition: II -

JOÃO CUTILEIRO - 1937-2021, Untitled (drinking fountain), marble, granite and limestone sculpture, a bird's head glued, unsigned, Dim. - 140 x 54 x 40 cm

JOÃO CUTILEIRO - 1937-2021, Untitled, marble and limestone hanging sculpture, unsigned, Dim. - 85 x 240 cm

ROGÉRIO TIMÓTEO - NASC. 1967, Untitled, marble sculpture, metal and marble base, minor defects, signed, Dim. - (total) 127 x 88 x 35 cm

Magnificent one-of-a-kind large sculpture in copper commissioned to French-American sculptor Jim Lewk. It depicts a courtroom during a trial, featuring the judge, the lawyer and the accused made with outstanding details. Set on a white marble base. Artist: Jim Lewk (French-American 20th-21st century)Issued: 20th centuryDimensions: 21.75''L x 14''W x 20.25''HCountry of Origin: France/United StatesCondition: Age related wear.

Large antique French patinated and cold-painted spelter sculpture entitled The Arab Warrior Knight on Horseback (Cavalier Arabe) after Emile Guillemin and Alfred Barye (Barye Fils) that depicts a proud hunter on horseback with dead game. Names carved on the corner of the black marble base: Barye et Guillemin. Sculpture dimensions: 20"L x 10"W x 25"H. Base dimensions: 25"L x 8"W x 1"H. Artist: Emile Guillemin (French 1841-1907) & Alfred Barye (French 1839-1882)Issued: Early 20th centuryDimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear. Some paint loss on the hunter's outfit.

MOREAU AUGUSTE (1834 - 1917)French sculpture in bronze - on a marble base - signed Auguste Moreau and with foundry markMOREAU AUGUSTE (1834 - 1917) sculptuur in brons : "Naakte vrouw met vogeltje" - hoogte : 60 cm - op marmeren sokkel getekend en met gieterijstempel ("J.B. Déposé, bronze garanti")

'antique' Italian ("Grand Tour") sculpture in marble and bronze representing the bust of a Roman gentleman'Antieke' Italiaanse (Grand Tour) sculptuur in marmer en brons : "Buste van een Romeinse man" - hoogte en breedte : 72 en 63 cm

pair of fifties' book-ends in marble each with a typical Walter Bosse "cat" sculpture in bronzePaar fifties' boekensteunen in marmer telkens met een plezante sculptuur in brons van Walter Bosse in de typische vorm van een kat - hoogte : 12 cm

antique Clodion signed sculpture in bronze on a red marble baseCLODION (1738 - 1814) antieke sculptuur in brons : "Drie musicerende amourtjes" - hoogte : 17,5 cm - op marmeren sokkel getekend