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A bronze sculpture of a nude woman resting on a tree stump, on a figural and floral base, titled 'Erotica', on a marble plinth, 63cm hLocation:If there is no condition report shown, please request

Georgie Welch (b 1969, British) limited edition (of 9) bronze bust of a horse resting on a slate socle with engraved titles 'Bone Idle' and 'The Duke of Beauforts Hounds' with booklets. British Sporting Art Trust award for sculpture at the Society of Equestrian Artists 1988 exhibition. Height 28cm plus socle 4cm.

Bronze Aureliu Teno sculpture double faced on shell 15cm paperweight

Bronze boxing hares sculpture, signed 'Nick' on marble plinth 25cmH

Michael Simpson bronze gun dog sculpture 243/260 12cmW 9cmH

MIGUEL FERNANDO LOPEZ 'Milo' bronze sculpture of an eagle 43cmH

Bronze flat coat retriever with bird sculpture signed J. Moignier, on black marble plinth 27cmW 19cmH 

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

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

MIGUEL FERNANDO LOPEZ 'Milo' bronze sculpture of flying eagles on a granite plinth 50cmW 45cmH

Michael Simpson bronze Cockerill sculpture 29/150 12cmH

Terence Coventry (1938-2017) bronze, "Cuckoo" 2013, 48cm (1 of 10), with Gallery Pangolin receipt and certificate October 2022  From the collection of the late Maurice Costley  Terence Coventry was taught by Keith Leonard, former studio assistant to Barbara Hepworth, at Stourbridge School of Art. He studied at the RCA then spent 25 years farming in Cornwall, before returning to sculpture, with his first solo exhibition at the age of 71.

A Paul Jenkins bronze effect sculpture of a seated hare, initialled 'PJ' near tail, 47cm tall.

Geraldine Knight (1933-2008) bronze sculpture 'Sheep Shearer' signed and numbered 1/8, 76 cm hARR applicable

A substantial bronze sculpture of a kneeling male figure 'The Broken Man', indistinctly signed and dated, raised on a black marble base, 63 cm x 25 cm x 36 cm h

Enrico Ligari (b. 1899), an Art Deco bronze sculpture, seated nude study in balletic pose, signed, 28 cm high

RARE STATUE DE BOUDDHA EN LAQUE SECHEXVIIe/XVIIIe siècleA VERY RARE LARGE DRY-LACQUER FIGURE OF BUDDHA17th/18th centurySeated in meditation in dhyanasana on a lotus pedestal with a double row of lotus petals, with his hands held in anjali mudra, wearing a diaphanous dhoti tied at his waist and falling in generous folds across his legs, his shoulders and arms covered with a fine shawl, his face with a serene expression, with arched brows, wide downcast eyes, a straight nose and a gentle smile, the hair neatly combed and tied up into a chignon, small traces of gilding and red pigments. 67 cm (26 3/8 in) highFootnotes:PROPERTY OF A FRENCH LADY法國女士私人珍藏十七/十八世紀 夾紵乾漆佛像Provenance:Collection of C.T. Loo (1880-1957), Paris.Collection of Mme Lucie Gass, Boulogne, C.T. Loo's restorer, then in the family by descent and acquired from the descendants of Mme Gass by the present owner in September 1990.The result of CIRAM C14 sample no. 0724-OA-1137J, dated 16 September 2024, is consistent with the dating of this lot.來源盧芹齋（1880-1957年）收藏，巴黎Lucie Gass女士收藏，布洛涅，盧芹齋之修復師，後經家族流傳，現藏家於1990年9月得自Gass女士後人。本拍品經法國CIRAM實驗室碳-14檢測編號0724-OA-1137J（2024年9月16日），結果與其斷代相符This rare large figure of a seated buddha is made in dry lacquer, a material that was rarely used in Chinese sculpture as it was more often carved from stone or cast in bronze. The technique of making hollow core dry lacquer sculpture was complicated and required skilled craftsmen. In a first step a clay core in the shape of the designated image was was created on an internal armature onto which layers of cloth strips were applied thereby helping to create a more detailed form of the figure. Multiple layers of lacquer were applied over a first layer bulked with fillers, the clay core removed and the dried lacquer surface painted and gilt. Inside the hollow figure wood pieces around the interior edges of the base provide structural support. Very few Buddhist hollow-core dry lacquer figures are known. They include three dry lacquer figures of Buddha, one in the Walters Art Gallery in Baltimore, the second in the Freer Gallery of Art, Washington, and the third in the Metropolitan Museum of Art, New York, all three dated to the late sixth and early seventh centuries, an eighth century dry lacquer figure of a bodhisattva in the collection of the Cleveland Museum of Art, and a dry lacquer figure of bodhisattva in the Nepalese style dated to the Yuan dynasty (accession no. F1945.4) from the collection of the Smithsonian in Washington, D.C. Samples taken from the wood inside the buddha have revealed a date to the 18th century. No large dry lacquer figure of this date is known but stylistically we can relate the figure to the sculptures produced in the region of Jehol near Chengde northeastern China. These sculptures made in the 18th century reflect Tibetan influence and reflect the Qing courts espousal of Tibetan Buddhism and its preference for Buddhist sculptures made in the Tibeto-Chinese style. The sculptures in the Wan fa gui yi dian in the Potala in Jehol illustrate the style favoured by the Qianlong emperor (Fig. ). Compare this figure with a very large gilt wood figure of Buddha, sold Christie's Hong Kong, 29 May 2019, lot 2704.This 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

TÊTE DE BOUDDHA EN ALLIAGE DE CUIVREThaïlande, style Sukhothaï, vers XVe siècleA COPPER ALLOY HEAD OF BUDDHAThailand, Sukhothai Style, circa 15th century 38 cm (15 in) highFootnotes:Veuillez noter que ce lot sera vendu sans réserve本拍品不設底價泰國 素可泰風格 約十五世紀 銅佛首Provenance:Jonathan Tucker and Antonia Tozer Asian Art, London, May 2005.The result of Oxford Authentication Ltd, TL test sample no. N199w60, dated 12 July 1999, is consistent with the dating of this lot.來源Jonathan Tucker and Antonia Tozer Asian Art，倫敦，2005年5月英國牛津鑒定公司熱釋光劑量測定測定結果（樣本N199w60）顯示本拍品年份與斷代相符This bronze head portrays the Buddha's serenity and 'classic' Sukhothai elements. With heavy-lidded eyes gazing downwards in blissful contemplation, his arched brow gives rise to a beaked nose, beneath which a gentle smile plays out across his lips. Compare two other 'classic' Sukhothai examples in the Walters Art Museum, both attributed to the second half of the 14th century and displaying similarly nasal bridges, recessed lips, and upswept eyes (Woodward, The Sacred Sculpture of Thailand, 1997, pp. 154 & 156, figs. 155 & 157). Lot to be sold without reserve.This lot is subject to the following lot symbols: * W* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.W 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

WIM DELVOYE (born 1965) Trophy 2010 Signé, daté et numéroté 2/3 Bronze poliGetekend, gedateerd en genummerd 2/3 Gepolijst bronsSigned, dated and numbered 2/3 Polished bronze51 x 117 x 35 cmFootnotes:Provenance / Herkomst Collection particulière, Luxembourg Galerie Patricia Low Contemporary, Gstaad Bibliographie / BibliografieWim Delvoye au Louvre, 2012, Musée du Louvre, Paris, Edtions Fonds Mercator, BruxellesUn certificat de l'artiste sera remis à l'acquéreurLa sculpture provocante *Trophy* (2000) de Wim Delvoye, qui représente deux cerfs en train de copuler, illustre son mélange caractéristique de grand art et de thèmes controversés et souvent provocateurs. Connu pour défier les frontières conventionnelles, Delvoye explore fréquemment l'intersection de la technologie, de la nature et des cadres culturels humains. Dans *Trophy*, il subvertit la notion traditionnelle de taxidermie en la transformant en une démonstration explicite et intrigante de la sexualité animale/humaine. Ce travail est le reflet de l'œuvre plus large de Delvoye, dans laquelle il incorpore souvent des éléments d'humour grotesque, d'imagerie transgressive et une critique des normes sociétales, soulevant des questions sur la marchandisation des animaux et de l'art (comme son projet de cochons tatoués).This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

A bronze figure, height 30cm, together with a coloured glass vase, a modern glass sculpture, and some dog figure ornaments.

TWO CONTEMPORARY HOLLOW CAST BRONZE SCULPTURES, in a figural form, in two positions, one with the height 52cm, the other 37cm high (condition report: unsigned, one bronze sculpture filled with a foam, both weathered, some loss of patination) (2)

TWO LARGE CAST BRONZE STAG FIGURES, after Jules Moigniez (French 1835 - 1894), pair of hollow cast bronze stag figures, signed J Moigniez on the sculpture, mounted on a black and white marble plinth, height of each stag is approximately 74cm, (2), (Condition Report: no signs of damage, signs of cleaning residue would benefit from a clean)

Anna Chromy, a marble and bronze sculpture of a woman on a wave, limited edition 2/10 63cm high. Condition - good

A mounted and framed bronze sculpture of a South Asian deity, depicted in a full length robe with elaborate headdress, 25 cms h, the box frame is approx 50 x 28 cms. Label to verso states the following: Fine Buddha figurine made from bronze in the Malay Archipelago region. 

Philippe PASQUA (Né en 1965) Vanité aux papillons, 2011. Sculpture en bronze à patine brune et doré, signée et datée par l’artiste. 48 x 48 x 22 cm. Un certificat d'authenticité accompagne l’œuvre.

Hannes D'HAESE (Né en 1965) Mickey in space Sculpture en bronze doré. Signé et numéroté E.A 1/4 sur la base Hauteur : 38 cm.

Hannes D'HAESE (Né en 1965) & Brian TRAVERS The Evil Child. Sculpture en bronze doré. Signé et numéroté E.A 1/4 au dos. Hauteur : 30 cm. Création en collaboration avec Brian Travers, saxofonist de UB40).

Ernst Barlach 1870 Wedel/Holstein - 1938 Rostock Die lesenden Mönche I (Unterweisung). 1921. Bronze mit goldbrauner Patina. Links seitlich mit dem Namenszug 'E. Barlach' und dem Gießerstempel 'H. Noack Berlin'. Eines von insgesamt 20 unnummerierten Exemplaren. 15 x 13,5 x 8 cm (5,9 x 5,3 x 3,1 in). Entstanden nach der gleichnamigen Tonskulptur von 1921, die sich in der Ernst Barlach Stiftung, Güstrow, befindet. Gegossen von der Kunstgießerei Hermann Noack, Berlin. [AR]. • Eines der seltenen Figurenpaare im Schaffen Ernst Barlachs, das zeitgleich zur berühmten Kussgruppe des Künstlers entsteht. • In inniger Zweisamkeit versunken sind die Mönche ein wunderbares Beispiel für die blockhaft geschlossene Formensprache des Künstlers. • Die künstlerische Sprache Ernst Barlachs ist einzigartig unter den deutschen Expressionisten und fasziniert mit ihrer eindringlichen Ausdruckskraft bis heute. PROVENIENZ: Privatsammlung Norddeutschland. LITERATUR: Elisabeth Laur, Volker Probst (Hrsg.), Ernst Barlach. Das plastische Werk, Werkverzeichnis II, Güstrow 2006, WVZ-Nr. 318 (m. Abb., anderes Exemplar). Friedrich Schult, Ernst Barlach. Das plastische Werk, Hamburg 1960, WVZ-Nr. 247 (m. SW-Abb., anderes Exemplar). Aufrufzeit: 07.12.2024 - ca. 14.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Barlach 1870 Wedel/Holstein - 1938 Rostock Die lesenden Mönche I (Unterweisung). 1921. Bronze with golden brown patina. Inscribed with the name 'E. Barlach' and with the foundry mark 'H. Noack Berlin' on the left side. From an edition of 20 unnumbered copies. 15 x 13.5 x 8 cm (5.9 x 5.3 x 3.1 in). Modeled on the clay sculpture of the same name from 1921, which is in the Ernst Barlach Foundation, Güstrow. Cast by the art foundry Hermann Noack, Berlin. [AR]. • One of the rare pairs of figures in Ernst Barlach's oeuvre, created at the same time as this famous 'Kissing Group'. • Immersed in intimate togetherness, the monks are a wonderful example of the artist's block-like, self-contained formal language. • Ernst Barlach's artistic language is unique among sculptors of German Expressionism and continues to fascinate us today with its vivid clarity of expression. PROVENANCE: Private collection, Northern Germany. LITERATURE: Elisabeth Laur, Volker Probst (eds.), Ernst Barlach. Das plastische Werk, catalogue raisonné II, Güstrow 2006, no. 318 (illustrated, different copy). Friedrich Schult, Ernst Barlach. Das plastische Werk, Hamburg 1960, no. 247 ( illustrated in b/w, different copy). Called up: December 7, 2024 - ca. 14.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Georg Kolbe 1877 Waldheim/Sachsen - 1947 Berlin Kleine Hockende. 1922/23. Bronze mit brauner Patina. Verso an der Plinthe mit dem Monogrammm und dem Gießerstempel 'H.NOACK BERLIN'. Höhe: 17,5 cm (6,8 in). Eine Auflage bzw. die genaue Anzahl der Exemplare der 'Kleinen Hockenden' ist nicht bekannt. Die Plastik, auch 'Trauernde' bzw. 'Kleine Sitzende' genannt, scheint sehr selten zu sein. Ein Exemplar besitzt das Von der Heydt-Museum, Wuppertal, erworben 1942 (Inv.-Nr. P 0132). [EH]. • In den 1920er Jahren findet Georg Kolbe zum besonderen Ausdruck seines reifen Werkes. • Georg Kolbes 'Kleine Hockende' vermittelt in ihrer Versunkenheit eine tiefe emotionale Intensität. • 'Kleine Hockende' (1922/23) wird selten auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). PROVENIENZ: Privatsammlung Nordrhein-Westfalen. LITERATUR: Victor Dirksen, 50 Jahre Städtisches Museum Wuppertal, Wuppertal 1952, Nr. 58 (m. Abb., anderes Exemplar). Günter Wachtmann (Hrsg.), Von der Heydt-Museum Wuppertal, Verzeichnis der Gemälde und Skulpturen, Wuppertal 1968, o. S. (o. Abb.). Günter Aust, Das Von der Heydt-Museum in Wuppertal, Recklinghausen 1977, Nr. 439 (m. Abb. S. 218, anderes Exemplar, hier betitelt 'Trauernde'). Sabine Fehlemann (Hrsg.), Von der Heydt-Museum Wuppertal, Skulpturensammlung, Neuauflage, Wuppertal 2000, S. 168 (m. Abb., anderes Exemplar). 'Jedes Werk Kolbes löst eine bedeutsame Form-Aufgabe und ist zugleich überzeugende Darstellung der Natur, vor allem des nackten menschlichen Körpers [..].' Ludwig Justi, Georg Kolbe, Berlin 1931, S. 7, zit. nach: Julia Wallner (Hrsg.): Georg Kolbe, Köln 2017, S. 22. Aufrufzeit: 07.12.2024 - ca. 14.37 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONGeorg Kolbe 1877 Waldheim/Sachsen - 1947 Berlin Kleine Hockende. 1922/23. Bronze with brown patina. Monogram and foundry stamp “H. NOACK BERLIN” on the reverse of the plinth. Height: 17.5 cm (6.8 in). The exact number of copies of the “Kleine Hockende” is not known. The sculpture, also called “Trauernde” or “Kleine Sitzende”, seems to be very rare. The Von der Heydt Museum in Wuppertal owns one copy, purchased in 1942 (inv. no. P 0132). [EH]. • In the 1920s, Georg Kolbe found a special expression for his mature work. • Georg Kolbe's 'Kleine Hockende' conveys a deep emotional intensity in its - contemplation. • 'Kleine Hockende' (1922/23) is rarely offered on the international auction market (source: artprice.com). PROVENANCE: Private collection, North Rhine-Westphalia. LITERATURE: Victor Dirksen, 50 Jahre Städtisches Museum Wuppertal, Wuppertal 1952, no. 58 (illustrated, different copy). Günter Wachtmann (ed.), Von der Heydt-Museum Wuppertal, Verzeichnis der Gemälde und Skulpturen, Wuppertal 1968, no. (not illustrated). Günter Aust, Das Von der Heydt-Museum in Wuppertal, Recklinghausen 1977, no. 439 (illustrated on p. 218, different copy, titled “Trauernde”). Sabine Fehlemann (ed.), Von der Heydt-Museum Wuppertal, Skulpturensammlung, new edition, Wuppertal 2000, p. 168 (illustrated, different copy). 'Every work by Kolbe solves a significant formal challenge and simultaneously provides a convincing representation of nature, especially the naked human body [..].' Ludwig Justi, Georg Kolbe, Berlin 1931, p. 7, quoted from: Julia Wallner (ed.): Georg Kolbe, Cologne 2017, p. 22. Called up: December 7, 2024 - ca. 14.37 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Margarete Moll 1884 Mühlhausen/Elsass - 1977 München Liegende (Liegender weiblicher Torso). 1949. Bronze mit brauner Patina. Verso mit dem Namenszug der Künstlerin. Eines von acht Exemplaren, neben zwei épreuves d'artiste. 9,7 x 39,3 x 6,5 cm (3,8 x 15,4 x 2,5 in). [AR]. • Auf das Wesentliche reduzierte, wunderbar weich-geschwungene Formensprache ohne Verlust des Charakteristischen. • Die als Vorlage dienende Holzskulptur der 'Liegenden' entwirft die Künstlerin 1949 während ihres mehrjährigen Aufenthalts in England. • Marg Moll zählt neben Renée Sintenis, Käthe Kollwitz und Emy Roeder zu den großen deutschen Bildhauerinnen des 20. Jahrhunderts. • Ihr Schaffen wurde zuletzt mit der gefeierten Wanderausstellung 'Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne' gewürdigt. PROVENIENZ: Privatsammlung Österreich. LITERATUR: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, München 2024, m. Farbabb. S. 168 (anderes Exemplar). „Marg Molls Kunst entspringt einem in sich ruhenden matriarchalischen Kern. Sie ist nicht mit metaphysischen Aspekten beladen, sondern meint unmittelbar die sichtbare Erscheinung und das anschauliche Erlebnis der tatsächlichen Form.“ Siegfried Salzmann, zit. nach: Werner Filmer: Marg Moll. Eine deutsche Bildhauerin. 1884-1977, Deutschland 2024 (3. Auflage), S. 212. Aufrufzeit: 07.12.2024 - ca. 15.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONMargarete Moll 1884 Mühlhausen/Elsass - 1977 München Liegende (Liegender weiblicher Torso). 1949. Bronze with brown patina. With the artist's name on the reverse. From an edition of eight copies plus two épreuves d'artiste. 9.7 x 39.3 x 6.5 cm (3.8 x 15.4 x 2.5 in). [AR]. • Reduced to the essence, the curving lines are wonderfully soft without sacrificing characteristic features. • The wooden sculpture of 'Liegende' (Reclining Figure), which served as a model, was created by the artist during her lengthy stay in England in 1949. • Alongside Renée Sintenis, Käthe Kollwitz, and Emy Roeder, Marg Moll is considered one of the great female sculptors of the 20th century in Germany. • Her work was most recently honored in the celebrated traveling exhibition 'Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne'. PROVENANCE: Private collection, Austria. LITERATURE: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, Munich 2024, illustrated in color on p. 168 (different copy). 'Marg Moll's art stems from an inherent matriarchal core. It is not laden with metaphysical implications, but refers directly to the physical appearance and vivid experience of the actual form.' Siegfried Salzmann, quoted from: Werner Filmer: Marg Moll. Eine deutsche Bildhauerin. 1884-1977, Germany 2024 (3rd edition), p. 212. Called up: December 7, 2024 - ca. 15.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Renée Sintenis 1888 Glatz/Schlesien - 1965 Berlin Polospieler II. 1929. Bronze mit brauner Patina. Auf der Plinthe mit der Signatur. Verso seitlich an der Plinthe mit dem Gießerstempel 'NOACK BERLIN FRIEDENAU'. Höhe: 40 cm (15,7 in). [EH]. • Renée Sintenis gestaltet unter den deutschen Künstler:innen wohl als erste die Figur eines Polospielers. • Muskelspiel von Reiter und Pferd sind in höchster Konzentration gezeigt. • Ein weiteres Exemplar befindet sich in der Nationalgalerie Berlin. PROVENIENZ: Galerie Vömel, Düsseldorf. Privatsammlung (vom Vorgenannten erworben). Privatsammlung Nordrhein-Westfalen (seit 1998). AUSSTELLUNG: Berliner Neue Gruppe, Ausstellung im Schloss Charlottenburg, Kat.-Nr. 179 (m. Abb.) (anderes Exemplar). Renée Sintenis. Das plastische Werk, Zeichnungen, Graphik, Haus am Waldsee, Berlin, 19.3.-27.4.1958, Kat.-Nr. 41 (m. Abb.). (anderes Exemplar) Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Kolbe-Museum Berlin; Kulturgeschichtliches Museum, Osnabrück; Ostdeutsche Galerie, Regensburg; Museen der Stadt, Hanau; Leopold-Hoesch-Museum, Düren, 1983/84, Kat.-Nr. 37 m. Abb. 81, 82 (anderes Exemplar). Zwischen Freiheit und Moderne. Die Bildhauerin Renée Sintenis, Kunstforum Ostdeutsche Galerie, Regensburg, 12.10.2019-12.1.2020, Kat.-Nr. 28 (m. Farbabb.) (anderes Exemplar). LITERATUR: Ursel Berger, Günter Ladwig, Renée Sintenis. Das plastische Werk, Berlin 2013, WVZ-Nr. 109 (m. Abb.) (anderes Exemplar). Britta E. Buhlmann, Renée Sintenis. Werkmonographie der Skulpturen, Darmstadt 1987, WVZ-Nr. (m. Abb.) (anderes Exemplar). - - Hanna Kiel (Hrsg.), Renée Sintenis, Berlin 1935, Abb. S. 58/59 (anderes Exemplar). Rudolf Hagelstange, Carl Georg Heise u. Paul Appel, Renée Sintenis, Berlin 1947, Abb. S. 73 (anderes Exemplar). Aufrufzeit: 07.12.2024 - ca. 14.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRenée Sintenis 1888 Glatz/Schlesien - 1965 Berlin Polospieler II. 1929. Bronze with brown patina. With signature on the plinth. With the foundry mark “NOACK BERLIN FRIEDENAU” on the reverse of the plinth. Height: 40 cm (15.7 in). [EH]. • Renée Sintenis was presumably the first German artist to create a sculpture of a polo player. • The rider and horse flex their muscles at a moment of intense concentration. • Another copy is found in the Nationalgalerie Berlin. PROVENANCE: Private collection, North Rhine-Westphalia. EXHIBITION: Berliner Neue Gruppe, exhibition at Charlottenburg Palace, cat. no. 179 (illustrated, different copy). Renée Sintenis. Das plastische Werk, Zeichnungen, Graphik, Haus am Waldsee, Berlin, March 19 - April 27, 1958, cat. no. 41 (illustrated, different copy). Renée Sintenis. Plastiken, Zeichnungen, Druckgraphik, Kolbe-Museum Berlin; Kulturgeschichtliches Museum, Osnabrück; Ostdeutsche Galerie, Regensburg; Museen der Stadt, Hanau; Leopold-Hoesch-Museum, Düren, 1983/84, cat. no. 37, illustrations 81, 82 (different copy). Zwischen Freiheit und Moderne. Die Bildhauerin Renée Sintenis, Kunstforum Ostdeutsche Galerie, Regensburg, October 12, 2019 - January 12, 2020, cat. no. 28 (illustrated in color, different copy). LITERATURE: Ursel Berger, Günter Ladwig, Renée Sintenis. Das plastische Werk, Berlin 2013, catalogue raisonné no. 109 (illustrated, different copy). Britta E. Buhlmann, Renée Sintenis. Werkmonographie der Skulpturen, Darmstadt 1987, catalogue raisonné no. (illustrated, different copy). - - Hanna Kiel (ed.), Renée Sintenis, Berlin 1935, illustrated on pp. 58/59 (different copy). Rudolf Hagelstange, Carl Georg Heise and Paul Appel, Renée Sintenis, Berlin 1947, illustrated on p. 73 (different copy). Called up: December 7, 2024 - ca. 14.58 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Tony Cragg 1949 Liverpool - lebt und arbeitet in Wuppertal Off the Mountain. 2013. Bronze mit schwarzbrauner Patina. An der Unterkante mit dem Monogramm und dem Gießerstempel. Unikat. 68 x 50 x 60 cm (26,7 x 19,6 x 23,6 in). Gegossen von der Kunstgießerei Schmäke, Düsseldorf (mit dem Gießerstempel). [KT]. • In kraftvollen Schichtungen formuliert Cragg die transformierende Kraft und Kreativität der Natur. • Arbeiten der Werkserie „Off the mountain“ sind 2011 im Musée du Louvre, Paris in der Einzelausstellung „Tony Cragg, Figure Out Figure In“ sowie 2012 im Victoria and Albert Museum/Exhibition Road, London, ausgestellt worden. • Cragg ist Träger des Turner Prizes (1988) und des Praemium Imperiale (2007) der japanischen Kaiserfamilie, neben zahlreichen weiteren Auszeichnungen. • Seine Skulpturen befinden sich in zahlreichen bedeutenden öffentlichen Sammlungen, wie der Tate Gallery, London, dem Museum Ludwig, Köln, und dem Von der Heydt-Museum, Wuppertal. PROVENIENZ: Nou Gallery, Taipeh. Privatsammlung USA. 'The work I make always has an internal structure, with the belief that what we see on the surface of things is only the consequence of what's underneath. If I was making a figure of what I look like, I would want to know why I look like that, and that's the basis of my work. I do have figurative elements in my work, because the material may be there without us, but our brains give it form and give it color. That's the fascinating thing.' Tony Cragg im Interview mit Alain Elkann, 2021. Die dynamischen und kraftvollen Arbeiten von Tony Cragg mit ihren fließenden, an Gesteinsschichten und Erosionslinien erinnernden Formen entfalten eine zwischen Natürlichkeit und Abstraktion changierende Präsenz. Wellenartige Formen und geschwungene Linien lassen an die unendlich langsam verlaufenden und zugleich unaufhaltsamen Kräfte der Natur denken, die über Jahrmillionen das Bild der Erde in kontinuierlicher Transformation prägen. In diesem Moment wird die statische Skulptur plötzlich zu etwas Lebendigem, das sich in einem ständigen Zustand der Veränderung zu befinden scheint. Cragg, als einer der bedeutendsten Bildhauer der Gegenwart, geht mit Off the Mountain über die bloße Darstellung hinaus und erforscht das Wesen von Form und Material. Die schwere, kompakte Bronze gelangt in den Schichtungen zu einer unerwarteten Leichtigkeit und scheinbaren Instabilität, die das Werk fast schwerelos wirken lässt. Diese Ambivalenz zwischen Statik und Bewegung, zwischen Materie und Energie, typisch für Craggs Arbeiten, verleiht der Skulptur eine faszinierende Spannung. Im Kontext zeitgenössischer Skulptur steht Off the Mountain als ein starkes Beispiel für Craggs innovative bildnerische Sprache. Vertraut und gleichzeitig fremd wirken die Gebilde, in denen Cragg bewusst mit der Wahrnehmung der Betrachtenden spielt, ein breites, offenes Assoziationsspektrum zulässt und die Grenzen zwischen Natur und Kunst hinterfragt. Zwischen reiner Form, Sedimentstrukturen, Naturkräften und künstlerischer Sprache entwickelt die Skulptur eine visuelle und inhaltliche Vielschichtigkeit, die immer wieder neuen Anlass zur Beschäftigung gibt. Aufrufzeit: 07.12.2024 - ca. 17.51 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONTony Cragg 1949 Liverpool - lebt und arbeitet in Wuppertal Off the Mountain. 2013. Bronze with black-brown patina. With the monogram and the foundry mark on the underside. Unique object. 68 x 50 x 60 cm (26.7 x 19.6 x 23.6 in). Cast by art foundry Schmäke, Düsseldorf (with the foundry mark). [KT]. • Cragg expresses the transformative power and creativity of nature in vibrant layers. • Works from the series 'Off the mountain' have been shown in 2011 at the Musée du Louvre, Paris in the solo exhibition 'Tony Cragg, Figure Out Figure In' and in the 2012 Victoria and Albert Museum/Exhibition Road, London, in 2012. • Cragg is the winner of the Turner Prize (1988) and the Praemium Imperiale (2007) from the Japanese Imperial Family, as well as numerous other awards. • His sculptures are in many renowned public collections, such as the Tate Gallery, London, the Museum Ludwig, Cologne, and the Von der Heydt-Museum, Wuppertal. PROVENANCE: Nou Gallery, Taipeh. Private collection, USA. 'The work I make always has an internal structure, with the belief that what we see on the surface of things is only the consequence of what’s underneath. If I was making a figure of what I look like, I would want to know why I look like that, and that’s the basis of my work. I do have figurative elements in my work, because the material may be there without us, but our brains give it form and give it color. That’s the fascinating thing.' Tony Cragg in ani nterview with Alain Elkann, 2021 Tony Cragg's dynamic and powerful works with flowing forms are reminiscent of rock formations and erosion lines. They unfold a presence that oscillates between naturalness and abstraction. Wavy forms and curved lines are conjured up by the infinitely slow yet unstoppable forces of nature that have shaped the face of the earth over millions of years in continuous transformation. At this moment, the static sculpture suddenly comes to life, appearing to be in a constant state of change. Cragg, one of the most important contemporary sculptors, goes beyond mere representation in 'Off the Mountain', exploring the essence of form and material. The heavy, compact bronze takes on an unexpected lightness and apparent instability, making the work appear almost weightless. This ambivalence between static and motion, material and energy, typical of Cragg's work, lends the sculpture a fascinating tension. In the context of contemporary sculpture, 'Off the Mountain' is a prime example of Cragg's innovative pictorial language. The structures seem both familiar and foreign, and Cragg deliberately plays with the viewer's perception, allowing a broad, open spectrum of associations and questioning the boundaries between nature and art. Between pure form, sediment structures, natural forces, and artistic language, the sculpture reveals a visual and conceptual complexity that provides ever-new reasons for contemplation. Called up: December 7, 2024 - ca. 17.51 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

Markus Lüpertz. (1941 Liberec - lebt in Berlin u. Düsseldorf). Heinrich Mann + Ich = Henry Quatre. 2015. Bronze, handbemalt. 39 x 20 x 18 cm. Auf der Plinthe mit Künstlermonogramm, nummeriert sowie mit Gießerstempel "Schmäke-Düsseldorf". - In den Vertiefungen teils leicht angestaubt, rückseitig mit leichter Verfärbung. Insgesamt sehr gut. Ausgezeichneter Guss mit strukturierter, expressiver Oberflächengestaltung, anhand der Bemalung mit unikatärem Charakter. Eines von 45 Exemplaren. - Guss in der Kunstgiesserei Schmäke, Düsseldorf. - Lüpertz vereint in der Plastik die Figur von Heinrich Mann mit seiner eigenen und der von Heinrich IV (1589 bis 1610 König von Frankreich und Hauptfigur in Manns "Die Jugend des Königs Henri Quatre"). Er lässt die drei Persönlichkeiten verschmelzen, lässt Kunst auf Literatur treffen und vereinigt Realität und Fiktion. Die kantigen, teils fragmentierten Körperformen betonen die Spannung zwischen innerer Zerrissenheit und künstlerischer Selbstbefragung, die beide Figuren symbolisiert. - Die Exemplarnummer 1/45 der Edition befindet sich in der ständigen Sammlung des Buddenbrookhauses, Heinrich und Thomas Mann Zentrum in Lübeck. - Markus Lüpertz zählt zu den bedeutendsten deutschen Gegenwartskünstlern. Bronze, hand-painted. With artist's monogram on the plinth, numbered and with foundry stamp 'Schmäke-Düsseldorf'. - Partly slightly dusty in the deepenings, with slight discolouration to the reverse. Very good overall. Excellent casting with structured, expressive finish, with a unique character due to the colouring. - One of 45 examples. - Cast in the Kunstgiesserei Schmäke, Düsseldorf. - In this sculpture, Lüpertz unites the figure of Heinrich Mann with his own and that of Henry IV (King of France from 1589 to 1610 and the main character in Mann's 'The Youth of King Henri Quatre'). He merges the three personalities, allows art to meet literature and unites reality and fiction. The angular, partly fragmented body shapes emphasise the tension between inner conflict and artistic self-questioning, which symbolises both figures. - Copy number 1/45 of the edition is in the permanent collection of the Buddenbrookhaus, Heinrich and Thomas Mann Centre in Lübeck. - Markus Lüpertz is one of the most important contemporary German artists.

quite big antique Japanese "Kannon" sculpture in bronze with cloisonné and inlaid cabochons Kannon is the Japanese manifestation of the Bodhisattva Avalokitesvara Vrij grote antieke Japanse sculptuur in brons met cloisonné en met ingelegde cabochons : "Gekroonde Kannon" (Japanse manifestatie van Bodhisattva Avalokitesvara) - hoogte : 134,5 cm prov : uit een oude Belgische collectie

quite big antique Chinese "Confucius on a donkey" sculpture in bronze and cloisonnéVrij grote antieke Chinese sculptuur in brons en cloisonné : "Confucius zittend op een ezel" - hoogte en breedte : 66,5 en 63 cm prov : uit een oude Belgische collectie

various lot with a Chinese archaic style recipient in bronze and a Himalayan "Deity" sculpture in an copper alloyLot met een Chinees recipiënt met archaïsche vorm met deksel en greep en archaïsche ornamentiek (16 cm hoog) en een sculptuur uit de Himalaya-gebieden in een koperlegering (17,5 cm hoog)

20th Cent. Thai bronze "Head of Buddha" sculpture20ste eeuwse Thaise sculptuur in brons : "Hoofd van Boeddha" - hoogte : 17,5 cm - op houten sokkel

19th Cent. Siamese Rattanakosin period "Standing monk" sculpture in gilded bronzeTHAILAND - RATTANAKOSIN PERIODE - 19° EEUW sculptuur in gedoreerde brons : "Staande boeddhistische monnik" - hoogte : 132 cm prov : uit een oude Belgische collectie

18th Cent. Burmese Shan period "Buddha" sculpture in gilded bronzeBIRMA - SHAN PERIODE - 18° EEUW sculptuur in gedoreerde brons : "Zittende Boeddha" - hoogte : 35 cm prov : uit een oude Belgische collectie

19th Cent. Siamese Rattanakosin period "Buddha of the future" sculpture in gilded bronze this statue has two small removable sculptures, which can be taken on journey for prayingTHAILAND - RATTANAKOSIN PERIODE - 19° EEUW sculptuur in gedoreerde brons met de voorstelling van de "Boeddha van de Toekomst" met zittend figuur waarvoor op een hoge trap geknielde monniken en "Boeddha" staan - hoogte en breedte : 51 en 47,5 cm Dit beeld heeft twee afneembare beeldjes die men kon meenemen op reis om te bidden prov : collectie uit het Groothertogdom Luxemburg

early 19th Cent. Siamese Rattanakosin period "Blessing Buddha" sculpture on its original base in gilded bronzeTHAILAND - RATTANAKOSIN PERIODE - vroege 19° EEUW sculptuur op de originele sokkel met vier "trappen" in gedoreerde brons : "Zegenende Boeddha" - hoogte : 107 cm prov : uit een oude Belgische collectie

antique Japanese "Senju Kannon" (Goddess of Compassion) sculpture in bronze with cloisonnéAntieke Japanse sculptuur in brons met cloisonné met de voorstelling van de twaalfarmige bodhisattva "Senju Kannon" (Godin van medelijden) - hoogte : 66 cm prov : uit een oude Belgische collectie

nice19th Cent. Burmese Mandalay period "Buddha head" sculpture in bronze with inlaid eyesBIRMA - MANDALAY PERIODE - 19° EEUW fraaie sculptuur in brons met ingelegde ogen : "Hoofd van Boeddha" - hoogte : 30 cm - gemonteerd prov : collectie uit het Groothertogdom Luxemburg

15th Cent. Siamese Ayutthaya period fragment of a bronze sculptureTHAILAND - AYUTTHAYA PERIODE - 15° EEUW fragment van een buste in brons - hoogte : 22,5 cm - gemonteerd prov : collectie uit het Groothertogdom Luxemburg

late 17th Cent. Burmese Shan period "Buddha" sculpture in bronzeBIRMA - SHAN PERIODE - EIND 17° EEUW sculptuur in brons met typische Shan vormgeving : "Zittende gekroonde Boeddha" - hoogte : 34 cm prov : collectie uit het Groothertogdom Luxemburg

Chinese Buddhistic "Avalokitesvara" sculpture in bronzeChinese Boeddhistische sculptuur in brons met de voorstelling van Avalokitesvara (met Boeddha-beeldje op het hoofd) - hoogte : 38 cm

antique Siamese "Dancer" sculpture in bronze - on an European wooden baseAntieke Thaise sculptuur in brons : "Danser" - op een houten sokkel gemonteerd - hoogte : 53 cm

small antique Siamese Rattanakosin period "Buddha" sculpture in gilded bronzeKleine antieke Thaise sculptuur uit de Rattanakosin-periode in gedoreerde brons : "Zittende Boeddha" - hoogte : 18 cm

antique Siamese "Buddha" sculpture in bronzeAntieke Thaise sculptuur in brons : "Zittende Boeddha" - hoogte : 30,2 cm

A bronze sculpture after the Flying Horse of Gansu, 17 cm. The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

Hugo De Putter (1938-1990): bronze sculpture, monogrammed HP, 10 by 5 by 26cm high.

Large signed bronze sculpture of a Cheetah - Approx height: 84cm

'My Friend', Pangolin Editions Sculpture cast in bronze on plinth, 15cm without plinth

A French Art Deco bronze sculpture modelled as three perched kingfishers on reeds, raised on polished slate rectangular integral base, h.24cm, w.41.5cmSome patination and minor tarnishing to the bronze.One reed a little loose but stands well.Minor chips to the base.Unsigned.

An Etruscan bronze warrior or Laran, God of WarCirca 5th-early 4th Century B.C.25cm high Footnotes:Provenance:Resandro collection, Europe, acquired November 1981.This striking bronze, larger than most votive statuettes, either depicts a youthful warrior, or the god Laran, who was the Etruscan god of war and loosely equivalent to the Greek god Ares. The figure's partial nudity suggests divinity, however without an accompanying inscription, or the known attributes of Laran, such as a thunderbolt, the attribution cannot be certain. The sculpture is notable for its exquisite detailing: the helmet is finely incised with a large palmette at the front, and delicate scrolls adorn the sides, while the short kilt is secured by a belt with dotted triangles, and the pleated folds are bordered by a band of triangles and dots. The youth's impressive musculature is naturalistically modelled, and his short hair is visible beneath his helmet. For another youthful warrior, also wearing an Attic crested helmet with upturned cheekpieces, see D.G. Mitten and S.F. Doeringer, Master Bronzes from the Classical World, Mainz, 1968, p. 172, no. 173.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A bronze abstract sculpture, two dancing figures, on a marble plinth  19"h

A bronze abstract sculpture, a standing figure, on a marble plinth  17"h

* TERRY OWEN MATHEWS (BRITISH 1931 - 2008) A SUNBIRD bronze sculpture, signed (T O Mathews) and numbered #1 (understood to be unique and not one of an edition) , dated 199834cm highNote: Terry Mathews was born in England in 1931, brought up in Uganda, and educated in Kenya and England. His life as a child in Uganda was enriched by his close association with his next-door neighbour, Captain Charles Pitman, the renowned Chief Game Warden of that country. With a family greatly involved in African wildlife, Mathews passion for animals transcended into his secondary profession as a sculptor. Despite losing sight in his lead eye, Mathews sculptures continued to evolve and grow into cast bronze pieces that captured the movement and freedom of the beloved wildlife he surrounded himself by. With his experience of being in the bush with wildlife on many photographic and collecting Safaris, Mathews was able to take the time to study animals and birds, enabling his pieces to take on a lifelike appearance despite the lack of anatomical research. Mathews believed that, “The movement is more important than the anatomical detail.” Situated in Kenya, Mathew’s work was cast and finished in a foundry founded by his son. There, he was able to follow the casting process closely to ensure his sculpture embody the vision of his initial creation. Mathews also worked with well-known sculptors like John Skeaping, William Timym, Johnathan Kenworthy and Rob Glenn. Mathews work has been shown in Europe, Africa and the United States. Terry was a strong supporter of conservation organizations, having contributed many bronzes to a number of conservation organizations including: Game Conservation International (contributed ten bronzes), Friends of Conservation, Kuki Gallmann's Ranch, The David Sheldrick Wildlife Trust, Rhino Rescue, Rhino Ark, Kenya Wildlife Service, Nairobi National Park, East African Wildlife Society, Cullman & Hurt Community Wildlife Project (Terry was Vice Chairman for a number of years and contributed three bronzes ) and, World Wide Fund for Nature. In addition, he was on the Advisory Committee of the David Sheldrick Wildlife Trust and in 1990 donated a full size Rhino Cow and Calf to act as a begging bowl for the Rhino Conservation Movement which now stands at the entrance to the Nairobi National Park. Later Terry was commissioned by the WWF and the East Africa Wildlife Society to build a monument to the burning of the ivory. The bronze was cast by Terry's son Denis in Nairobi and provided at cost. It now stands at the site of the original burning of the 12 tons of ivory.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), MONDRIAN HEAD plaster sculpture, signed to bottom with stock number, together with wooden base 28cm high, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), THE RABBIT plaster sculpture12cm high, 20cm long, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.