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French bronze sculpture of a knight on horseback, late 19th Century, dark patination, height 32cm

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Christ of Saint John of the Cross".Bronze sculpture, copy 268/350.Signed on the right leg. Numbered on the foot of the cross.Base in black veined marble.Size: 43,5 x 20,5 x 12,5 cm (figure); 7 x 16 x 16 x 16 cm (base).This bronze sculpture represents the "Christ of St. John of the Cross", a transposition of the canvas kept in the Kelvingrove Museum, Glasgow, UK. Painted in 1951, it is one of Salvador Dalí's most emblematic paintings. For the position of Christ, the painter was inspired by a painting by Saint John of the Cross, kept in the Monastery of the Incarnation in Avila. The piece was cast from a model directly modelled in wax by Dalí, demonstrating his mastery in the field of sculpture.A painter and sculptor, Salvador Dalí was one of the leading exponents of the Surrealist movement. He made his individual debut in 1925 at the Dalmau Galleries in Barcelona. In 1926, after being expelled from the San Fernando School of Fine Arts for indiscipline, he went to Paris. There he met the young Picasso and, four years later, joined the Surrealist movement. Dalí's production during this period was based on Freud's theories, acclaimed by Breton: representation of dreamlike images and everyday objects in unsuspected and surprising compositional forms. Some of the characteristics of his work at this time became distinctive of all his later work. He also absorbed the influences of diverse artistic styles, from classical academicism to the most groundbreaking avant-garde. His work greatly influenced the direction of Surrealism in the years that followed, and he was acclaimed as the originator of the paranoiac-critical method, the essential combination of the real and the imaginary. Following his first solo exhibition in New York in 1934, his international reputation was definitively consolidated. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

RICHARD MACDONALD (USA,1946)."Doves.Bronze, specimen 446/950.Signed and justified on the base.Measurements: 39 x 25 x 5 cm.Richard MacDonald, based in California, is known for his bronze sculptures and his association with Cirque Du Soleil. Trained in painting and illustration at the Art Center College of Design, MacDonald was successful as a commercial illustrator until a fire destroyed his studio in the late 1930s, along with the accumulated works of his career as a painter and illustrator. He then began sculpting in earnest and within ten years became one of the most widely collected figurative sculptors in the United States today. His work has been acquired for the permanent collections of companies such as AT&T, IBM and Anheuser-Busch, as well as notable private collections. His work has been described as "a tribute to the eloquence of the human form". He is an advocate of neorealism and figurative art, and has encouraged emerging and professional artists through annual international masters' workshops. For the 1996 Olympics, MacDonald created The Flair, a 26-foot-tall sculpture of a gymnast. As with all the monuments he has created, MacDonald designed the plaza on which The Flair sits, including a large reflecting pool and fountain. MacDonald has begun work on The Grand Coda, a memorial to Dame Ninette de Valois, founder of the Royal Ballet and the Royal Ballet School. The monument will be installed at White Lodge in Richmond Park, London, England, a historic royal retreat now home to the Royal Ballet School. This work in progress is currently being developed in the artist's studios in California and London.

RICHARD MACDONALD (USA,1946)."Phases of the moon".1972.Bronze, specimen 484/950.Signed, dated and justified on the base.Measurements: 37 x 20cm.; 5 cm. base.Richard MacDonald, based in California, is known for his bronze sculptures and his association with Cirque Du Soleil. Trained in painting and illustration at the Art Center College of Design, MacDonald was successful as a commercial illustrator until a fire destroyed his studio in the late 1930s, along with the accumulated works of his career as a painter and illustrator. He then began sculpting in earnest and within ten years became one of the most widely collected figurative sculptors in the United States today. His work has been acquired for the permanent collections of companies such as AT&T, IBM and Anheuser-Busch, as well as notable private collections. His work has been described as "a tribute to the eloquence of the human form". He is an advocate of neorealism and figurative art, and has encouraged emerging and professional artists through annual international masters' workshops. For the 1996 Olympics, MacDonald created The Flair, a 26-foot-tall sculpture of a gymnast. As with all the monuments he has created, MacDonald designed the plaza on which The Flair sits, including a large reflecting pool and fountain. MacDonald has begun work on The Grand Coda, a memorial to Dame Ninette de Valois, founder of the Royal Ballet and the Royal Ballet School. The monument will be installed at White Lodge in Richmond Park, London, England, a historic royal retreat now home to the Royal Ballet School. This work in progress is currently being developed in the artist's studios in California and London.

BALTASAR LOBO (Cerecinos de Campos, Zamora, 1910 - Paris, 1993)."Au Soleil", 1970.Bronze, copy E.A.Susse Paris Foundry.Signed and justified.Measurements: 65 x 63 x 29 cm.With his characteristic language of forms, which oscillate between geometry and the poetics of volume, Baltasar Lobo presents us not with a concrete woman, but with the idea or the concept of woman. The figure adopts a strong, attractive, decisive and sensual attitude, a contemporary Venus not only as a passive creator, but as an active generator and protagonist.A sculptor and draughtsman, an outstanding member of the historical avant-garde, Lobo began his training in an imagery workshop in Valladolid, where he entered at the age of twelve. In 1927 he obtained a scholarship to enter the San Fernando Academy in Madrid, although he only attended its courses for nine months. He then attended evening courses at the School of Arts and Crafts, while earning his living by sculpting tombstones. In 1946 he settled in Paris, where he lived and worked for the rest of his life. There he was welcomed by Picasso, and became friends with the sculptor Henri Laurens. Lobo held numerous solo exhibitions, both in Spain and France and in Sweden, Luxembourg, Switzerland, Germany, Japan and Venezuela. Of particular note was the retrospective devoted to his work at the Museo de Arte Moderno in Madrid in 1960. He also took part in important group exhibitions in Europe. His sculptures are now part of the urban landscape of cities such as Zurich, Annecy, Paris, Luxembourg and Caracas. Throughout his career he received important awards, such as the Official Prize for the Arts and Letters of France in 1981, the National Prize for Plastic Arts of Spain in 1984, and the Andres Bello Order of the Venezuelan Government in 1989. Two years after his death, in 1995, the Museo de Bellas Artes de Caracas dedicated an exhibition to him. An open-air exhibition of Lobo's sculptures has recently been held in the city of Valladolid, and has subsequently moved to other capitals such as Seville, Lisbon and Madrid. In Lobo's sculpture, over the years, the form has become stylised to the point of approaching abstraction, without losing its eminently figurative origin. His personal evolution is characterised by the search for the purity of volumes and the reduction of forms to the most essential, both in bronze and in granite and marble. Thematically, the woman has always been the main reference point for Lobo's work. His production is divided into two clearly differentiated periods; the first, more primitivist, and a second period marked by the influence of surrealism. There is currently a museum in Zamora dedicated to his work, which bears his name. Lobo is also represented in the Museum of Fine Arts of Asturias, the Connaught Brown Gallery in London, the Thomas Ladengalerie in Munich, the MAPFRE Foundation in Madrid, the Kunsthalle in Düsseldorf and the Lentos Kunstmuseum in Linz (Austria), among others.

λ Greta Berlin (British, born 1942), Art Bronze Foundry (founded 1922), a sculpture maquette of The Earl Mountbatten of Burma, portrayed as a sailor in foul weather gear, depicted standing, wearing a duffle coat and sea boots, holding a pair of binoculars, and is mounted on a black slate plinth, inscribed verso MOUNTBATTEN / STUDY V / G. BERLIN '89 / 1/3, 60cm high overall, the maquette 52cm highCf. the second of the two artist proof copies in the Royal Navy submarine museum. This model is the first of three artist proof copies of Greta Berlin's fifth study for a commission by developers Timberline Properties for a memorial statue for Grosvenor Square, Southampton. Provenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with a green 'verdi-gris' patina with bronze showing through in some places.The figure is entirely secure on the base attached via two bolts and screws, accessible to the underside. There is some discolouration to the surface of the plinth.Please refer to additional images for visual reference to conditionThe provenance has been added to the description: Provenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report Disclaimer

OF COLLECTORS' INTEREST: A late George II carved mahogany drop-leaf table1755-1760, the oval top above a plain arched frieze, on opposing C-scroll, rocaille and acanthus clasped cabriole legs with foliate scrolled ears, terminating in claw and ball feet, 54cm wide x 116cm deep x 74cm high, (21in wide x 45 1/2in deep x 29in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. The offered drop-leaf table is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. III, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 26, p. 220. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1750.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he... This lot is subject to the following lot symbols: TPTP Lot 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

OF COLLECTORS' INTEREST: A William and Mary walnut, oyster veneered and sycamore banded chest1690-1705, the top with an ovolo edge and inlaid with concentric roundels and pollard oak, flanked by two circular tablets and quarter spandrels, above two short and three long graduated oak-lined drawers, on later (probably 18th century) bracket feet, 96cm wide x 59cm deep x 92cm high, (37 1/2in wide x 23in deep x 36in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Significantly, the offered chest is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 29, p. 40. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1715, although it perhaps more accurately belongs to a slightly earlier era which is essentially 1690-1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than no... This lot is subject to the following lot symbols: TPTP Lot 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

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot 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

OF COLLECTORS' INTEREST: A Regency mahogany Pembroke tableThe top with a reeded edge above one frieze drawer, on ring turned tapering legs terminating in castors, 53cm wide x 87cm deep x 73cm high, (20 1/2in wide x 34in deep x 28 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot 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

OF COLLECTORS' INTEREST: A George II painted pine dummy board1720-1750, the shaped board decorated with an elegantly attired young lady holding a fan in one hand, later reduced in height, 94cm high.Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot 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

OF COLLECTORS' INTEREST: A late George II carved mahogany concertina-action card table1755-1760, the hinged crossbanded top enclosing a baize playing surface, above one mahogany-lined frieze drawer, on four scallop shell and bellflower clasped cabriole legs each carved with C-scroll ears and scrolled foliate spandrels, 87cm wide x 42cm deep x 71cm high, (34in wide x 16 1/2in deep x 27 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. ... This lot is subject to the following lot symbols: TPTP Lot 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

Cyrus Edwin Dallin (American, 1861-1944): A rare patinated bronze equestrian figure entitled 'Appeal to the Great Spirit' presented to the Rt. Hon. David Lloyd George whilst visiting the USA in October 1923depicting a Native American Indian (Sioux) chief seated on his horse wearing a feathered headdress and with outstretched arms, raised on a naturalistic rectangular base, signed and dated,C.E.Dallin 1913 and with circled 'C' copyright mark, the end of the base inscribed GORHAM CO FOUNDERS ma OXC, and one side also numbered #122, 22.5cm highFootnotes:Provenance:Presented to the Rt. Hon. David Lloyd George during his trip to the USA in October 1923.Gifted to Frances Louise Stevenson (1888-1972), personal secretary, mistress and confidante to David Lloyd George and later in 1943, Mrs Frances Lloyd George, subsequently Countess Lloyd George of Dwyfor, CBE, after the death of Lloyd George's first wife Dame Margaret in 1941. Thence by descent to Jennifer Longford, née Stevenson (1929-2012), daughter of Frances Stevenson and possibly (now generally assumed) David Lloyd George.Thence by descent to the present owner and vendor in 2012.David Lloyd George:David Lloyd George, 1st Earl Lloyd-George of Dwyfor, OM PC (British, 1863-1945) was a British statesman and Liberal Party politician from Wales who had a long and distinguished political career in Britain. He initially served as Chancellor of Exchequer, later Minister of Munitions and then Minister of War before becoming Prime Minister between 1916 and 1922, when he ousted his then party leader Herbert Asquith. As the last Liberal to serve as Prime Minister, he held the office during the final two years of the First World War and led the British delegation at the 1919 Paris Peace Conference where he was principal negotiator. The conference subsequently saw the signing of 'The Treaty of Versailles' by the 'Big Four' which aside from Lloyd George for Great Britain, included the US President, Woodrow Wilson, the French Prime Minister, George Clemenceau and the Italian Statesmen, Vittorio Emanuele Orlando. However, Lloyd George's tenure as Prime Minister ended in 1922 after the Conservatives withdrew their support from his coalition government. Lloyd George visited the United States and Canada in the autumn of 1923. Accompanied by his wife, Margaret, their youngest daughter, Megan and his private secretary, A. J Sylvester, the purpose of the tour was to personally thank both countries for their help during the Great War and was a resounding international success. A contemporary British Pathe newsreel clip entitled 'Welcome, Lloyd George!' from October 1923 (available to view online), documents the arrival of the Welsh statesmen and politician to great acclaim. It includes footage of the huge street parades that were held in his honour and captions to the silent film include 'Biggest crowds in New York streets since homecoming of US', '(U.S.) Troops greet the 'Wizard of Wales' and 'Bombarded by hundreds of cameramen.'A further contemporary Pathe Gazette newsreel clip from later that month entitled 'In Minneapolis' - 'L.L. G.' meets Sioux Chief - 'Two Eagle' – eagle in peace, eagle in war' (also available to view online) further documents Lloyd George meeting and accepting gifts from the Chief and other elderly statesmen of the Sioux tribe and this can be viewed under 'Ll G Sioux Chief Aka Lloyd George – Sioux Chief (1923)'Lastly a black and white documentary photographic image (available to view online at www.bonhams.com) from this same meeting at Minneapolis illustrates the meeting of Lloyd George and Chief 'Two Eagle' and other members of the Sioux tribe and was used in the New York times, published 23rd October 1923 entitled 'Lloyd George on the warpath: the British War Premier' A possible explanation for why Lloyd George came to visit Minneapolis and why he was presented with the current lot which depicts a Sioux warrior can be confirmed in a historical biography of the Sioux physician Charles Ohiyesa Eastman and his Euro-American wife Elaine Goodale by Gretchen Cassel Eick, entitled 'They Met at Wounded Knee – The Eastmans' story'In the biography, Eick comments that in 1922 the US Secretary of the Interior appointed Charles Eastman to a national advisory 'Committee of One Hundred' to make recommendations to the President on Native American policy. 'The 'Committee of One Hundred' proposed reversing the policy of banning (Native) Indian dances and ceremonies. It recommended providing scholarships to allow (Native) Indians to attend public schools and colleges whilst improving the health conditions on reservations, all positions Charles Eastman advocated'.Eick then pertinently comments 'That year (1923) Eastman organised a reception for David Lloyd George.. who wished to meet some American (Native) Indians. Charles made sure that Lloyd George's wish was more than fulfilled'.Eick then confirms that at the meeting which took place on October 15th 1923 'Eastman led a delegation from the Cheyenne River Reservation to the Madison Hotel, Minneapolis, where they presented the Prime Minister (Lloyd George) with a peace pipe, headdress and an honorary Lakota name. The prime minister's adoption by the tribe was recorded on film, and President Calvin Coolidge wrote to Eastman that it was the most memorable part of Lloyd George's American visit'Cyrus Edwin Dallin: Cyrus Edwin Dallin was an American sculptor who created more than two hundred and sixty works during his career in a variety of subjects and was also an accomplished painter and an Olympic archer. However, he is best remembered for his heroic-scale public tributes in honour of America's indigenous peoples. As a child, Dallin was close to Ute families who lived on the nearby Springville settlement, and he had a deep respect for their culture and history. Because of this he was profoundly disturbed by the crimes he witnessed being perpetrated against them and other native tribes by the US government. As such his sculptures were intended as admiring personal reflections and social and political comments on their resilience in the face of ongoing subjugation. The offered lot of 'Appeal to the Great Spirit' is a reduction of the monumental group located in front of the Museum of Fine Arts, Boston, Massachusetts which is arguably Dallin's most famous work. It was exhibited at the National Sculpture Society in 1908 and awarded a gold medal at the Paris Salon of 1909 before being finally unveiled in Boston in 1912. Dallin confirmed that the piece depicted a mounted Sioux chief engaged in prayer with a higher power after defeat by the U.S. Army, commenting that he had captured the moment when the chief had made his'final appeal to the Great Spirit' after 'his signal of peace...had been rejected'. It was the fourth and final work in a series of equestrian sculptures that Dallin completed between 1890 and 1909 which he collectively called 'The Epic of the Indian'. In the first quarter of the twentieth century over four hundred authorised small-scale bronze casts of 'Appeal to the Great Spirit' were produced in three different sizes, this cast being the smallest size. Literature:Frances Lloyd George 'The Years That Are Past', Hutchinson, 1967Roy Hattersley 'The Great Outsider David Lloyd George', Little Brown Book Group, 2012For details of Lloyd George's visit to the USA and meeting with elders of the Sioux tribe in Minneapolis, see the following historical biography of Sioux physician Charles Ohiyesa Eastman:Gretchen Cassel Eick, 'They Met at Wounded Knee – The Eastmans' story', University of Nevada Press, Reno & Las Vegas, 2020, chap. 2For examples of similar Dallin works in different edition sizes see the following references:Rell G. Francis, 'Cyrus E. Dallin: Let Justice Be Done', Springville, Utah,... For further information on this lot please visit Bonhams.com

Elna Sophie C. Steen-Hertel (1872-1947) bronze sculpture of a naked boy with kitten, signed to the base, 39cm highCondition report: Good condition, no damage or repair

Gotthilf Jaeger (1871-1933): Bronze sculpture of a sinuous female dancing female, signed and with foundry mark - VRAI BRONZE DEPOSE K, 72.5cm high, raised on conical serpentine marble base, total height 94cmCondition report: Minor surface scratches and minor wear commensurate with age, basically good condition

Else Furst (1873-1943): Bronze sculpture of two pheasants, signed, raised on canted marble plinth, 74cm long

Charles Augustus H. Lutyens (1829-1915): Bronze sculpture of Jorrocks on horseback, signed and dated, inscribed 'Published by S. L. Fane, 49 Glasshouse Street, London W. May 6, 1891, 41cm long x 36cm high

Raphael Charles Peyre (1872-1949): Bronze sculpture titled 'Confidence', signed, on variegated marble plinth, titled to plinth, the bronze 50cm long

*Leon Underwood (1890-1975): Bronze sculpture - Joy as it Flies, signed, titled and numbered I/VII, also marked II presumably denoting second state, the bronze 42cm high on wooden plinth.Provenance: By descent from vendor's late parents who knew Leon Underwood

A contemporary bronze sculpture representing a three legged toad with applied mother of pearl shell, length 13cm.

A late 19th century bronze sculpture of classical figure possibly Dionysus, raised on circular plinth base, height 30cm.Additional InformationScratches and wear to the patina, see additional images. The piece is missing its original marble/plinth base, dents and knocks, hairline to the arm.

A 19th century bronze sculpture representing a Pan playing windpipes, raised on a hardstone plinth base, indistinctly signed, height 13cm, together with a cast bronze figure of a child with stretched arm, raised on marble plinth base, height 15cm (2).

A late 19th century bronze sculpture representing Dionysus, raised on alabaster plinth base, height 18cm, and a further bronze sculpture representing Chronos, raised on rectangular plinth base, height 20cm (af) (2).Additional InformationChronos is missing snake and there is section/scythe missing from the tip, wear to the patina, chipping to each of the plinth bases, the patina in both is af.

TONY KARPINSKI (born 1965); a limited edition bronze figure 'Adolescent Elephant', raised on a rectangular plinth, length of plinth 29.5cm, sold with certificate of authenticity, signed by the artist dated 2007 with sculpture no.1/8. (D)Footnote: Purchased from Haynes Fine Art of Broadway.Additional InformationIn very good condition with just a couple of light surface scratches to the base.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

CONTEMPORARY SCHOOL SCULPTURE, the family, faux bronze, 37x40x15.

Sculpture in bronze H160

Sculpture in bronze (lantern) on a base H115

Sculpture in bronze H100

A contemporary bronze sculpture of a racehorse, naturalistically modelled standing on a shaped rocky ground, 28 cm high

A 20th century patinated bronze sculpture after Pierre-Jules Mêne, study of a red setter on a rectangular naturalistic base, raised on a stepped marble plinth, 29cm long

~A cast bronze sculpture of a bear, together with a primitive carved tribal spoon, a Moauchline ware vessel, a novelty inkwell formed as a pug, and other treen items including candlesticks

~Glasgow school Arts & Crafts brass serving tray, a pierced brass planter frame, a bronze portrait plaque signed A.Shallenmuffer 1910, a bronzed composite sculpture, and a mirror in a faux gilt bamboo frame (5)

A cast patinated bronze sculpture of a cock pheasant after Barye, 20cm long, a Victorian miniature mahogany bookcase containing leather bound reference works, an ivory portrait miniature of a lady in a gilt mount, an 18th century stipple engraved portrait of a young girl purporting to be Lady Catherine Paulet, daughter of the Duke of Bolton, and three Staffordshire greyhound models (quantity)

Henry Moore signed 3 1/2 x 5 card. English artist best known for semi abstract bronze sculptures. Also includes newspaper cutting with photo of him with his Mother and Child sculpture taken in 1953. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Limited edition Bronze figure of a lady signed on base by the sculpture John Letts- 5/50

John Erskine MILNE (1931-1978)AtticaCold cast bronze reliefFrom an edition of 649.5 x 61cmProvenance - Bonhams Literature - Peter Davies, The sculpture of John Milne, Belgrave Gallery, London & St Ives, 2000, page 82, no.JM121

Antiquities, an Egyptian fragmentary bronze sculpture of Isis, height 8cm.

A bronze sculpture of a terrier, possibly a car mascot, together with a cold painted spelter figure of a nodding man Condition report: Available upon request

Interior Design - a contemporary bronze sculpture, A Lover's Embrace, 46cm high

Interior Design - a contemporary bronze sculpture, Mother and Child, 32.5cm high

A large contemporary bronze sculpture of a carp, 96cm long

Fonderia Sommer, a weathered verdigris bronze Italian Grand Tour sculpture, Nike atop a globe holding serpent staff, on weathered stone plinth, signed Fonderia Sommer Napoli, overall height 70cm

A modern miniature patinated bronze Bulldog sculpture, and 2 others, largest height 14cm (3)

A modernist bronze Flukes sculpture, unsigned, on oak base, height 15cm

After Moreau, patinated bronze sculpture, lady holding fruit, signed, height 40cm

A Neapolitan bronze sculpture of the seated Mercury, after the antique, late 19th c, black patina rubbed slightly in places,  on later mahogany stand, 22cm h including stand Good condition

A bronze sculpture of an archer, on sloping rock, naked save for loincloth, uneven rich black and green patina rubbed in places, on slate base, 29cm h Good condition

Sylvain Kinsburger (1855-1935)Bronze sculpture of putto, on marble plinth, 119 cm high (restoration on left hand near bush and marble plinth)

Bronze sculpture of a pelican, on a marble base, after Edoard Bertin, 29 cm high

Bronze sculpture of a lobster, 23 cm high, 36 cm wide

Thomas Francois Cartier (1879-1943)Bronze sculpture of a hunting dog, 9 cm high, 20 cm wide and 6 cm deep

Bronze sculpture of a cat, on a marble base, after Botero, 12 cm high

Bronze sculpture of a vulture, on a marble base, 56 cm high

Marked Richmond, polished bronze sculpture of a vangorilla skull on a blackened wooden base, 36 cm high

Monogram AM, bronze sculpture of a seated nude woman with ponytail and hat, 86 cm high

Jits Bakker (1937-2014)Bronze sculpture of a bucking bull on a stone pedestal, 44 cm high and 14.10 kilograms stone pedestal 100 cm high and 101.60 kilograms

Charles Artus (1897-1978)Bronze Art Deco sculpture of a marabou stork, on a marble base, 18 cm high

Bronze sculpture of a saltwater crocodile skull on a blackened wooden base, 37 cm wide

BRONZE SCULPTURE OF AN ATHLETE, post modernist Portuguese signed JF'66 with gilt and verdigris patina, mounted on a marble base, 47cm H x 34cm x 10cm.

A Norwegian bronze sculpture of bird mounted on a stone. Label for Lofoten. Signed Smia 1992 to base.