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A bronze abstract sculpture of a standing figure on naturalistic base, 40cm high

A reclining female nude, a bronze sculpture on a marble base.

Jacques Coquillay (French, b. 1935). Life sized bronze sculpture depicting a kneeling nude woman with a lovely green patina. The womanís hair is pulled back, her gaze is directed down, and her arms are at her sides. The sculpture is signed along the figure's right leg, and numbered 6/8 and impressed with the foundry mark along the right foot.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 38 in x width: 16 in x depth 21 in.

Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a nude woman in a folded kneeling position. The womanís toes are flexed, she is grasping opposite arms, and her elbows rest on the ground. Signed and dated 1997 along the base; impressed foundry mark along the base. Edition: 2/8.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 5 1/2 in x width: 13 in x depth: 5 in.

Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a standing nude woman. The woman appears to be yawning, with head back, mouth open, and palms facing up. The figure rests on a rectangular bronze base. Signed, numbered 2/4, and foundry marked along the base.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 32 in x width: 14 1/2 in x depth: 6 in.

PORTE MONTRE D'UNE FIGURE DE CHRONOS EN BRONZE PATINE ET BRONZE DORE, TRAVAIL FRANCAIS DU 19EME SIECLEA 19TH CENTURY FRENCH PATINATED AND PARCEL GILT BRONZE WATCH HOLDER 'PORTE MONTRE' MODELLED AS THE FIGURE OF CHRONOSThe figure holding a scythe, mounted on an associated rouge griotte marble plinth base. 21.5cm wide, 11.2cm deep, 31cm high (8in wide, 4in deep, 12in high) 28.5 (the sculpture)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ** 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 car 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 la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

After Jules Moigniez (1835-1894), a large bronze sculpture of an eagle with prey, signed to the naturalistic base, raised on a circular green veined marble plinth, 64cm high, 46cm wide

Erte (Romain de Tirtoff) (French, 1892-1990). Art Deco polychrome bronze sculpture titled "Faubourg St. Honore" depicting a woman in a luxurious coat and gown. The title alludes to the reputation of Rue du Faubourg Saint-Honore in Paris, France as it is known as one of the most iconic places for luxury shopping. Numbered 105/375, dated 1990, impressed "Chalk & Vermilion and Sevenarts" with foundry mark along the base. Published by Chalk and Vermilion. Height: 19 1/2 in x width: 12 in x depth: 6 3/8 in.

Ernest Trova (American, 1927-2009). Enameled steel, bronze, and acrylic sculpture titled "Abstract Variation Manscape," depicting Trova's iconic "Falling Man" motif. Incised signature along the underside. Additionally titled, numbered 23/50, marked "Pace Editions Inc. 1984," and marked with Trova's studio mark along the underside. Height: 9 1/4 in x width: 6 in x depth: 4 1/2 in.

Paul Dubois (French, 1829-1905). A Barbedienne foundry bronze sculpture of Maternite, signed to reverse P Dubois, 80cm high.

After D H Chiparus, Art Deco style patinated bronze sculpture, dancing lady, on stepped marble base, signed, overall height 49cm

LARGE BRONZE ABSTRACT SCULPTURE 65CMS (H)

DOUG HYDE (BRITISH 1972) 'BOX OF LOVE' a limited edition box set comprising a 13cm bronze sculpture, four limited edition prints and a hardback book and wooden packing crate, 438/495 (ARR) (Condition:- patination fault to back of sculpture, prints and book still shrink wrapped)

DONNA MASON-ADAMS (AMERICAN CONTEMPORARY), a limited edition bronze sculpture of a Elephant 32/99, impressed signature, inscribed edition number, approximate height 29cm, approximate length 34cm, originally sold with a calf and called Mother & Calf, good overall condition

A CONCRETE SCULPTURE OF THE HEAD AND SHOULDERS OF A SLEEPING FEMALE, bronze patination to the figure, unsigned, approximate height 41cm x width 53cm x depth 49cm, (Conditoon report:- damage to top left of deckchair and chip to bottom right)

A box of mixed collectables to include two miniature bronze chairs, an abstract ceramic sculpture and a large glass lidded amethyst coloured lidded bottle.

Small bronze sculpture by Lucy Kinsella measures approx 5" tall

AFTER MENE, A BRONZE SCULPTURE OF GUN DOGS & A GAME BIRD, raised on a polished marble base, 40cmCondition report: the base 44cm x 23cm, 25cm high.  Modern bronze copy, it is heavy and cold with touches of the yellowy bronze metal, showing on raised areas, seen through dark brown patina.

signed, patinated bronzethe bronze 44cm high x 38cm wide (17.24in x 15in)Footnote: Grizel Niven was a pupil of Henry Moore in the 1930s and began direct carving under his influence. Later in her career she won acclaim for her sculpture for the Dachau Concentration Camp memorial, and after hearing Kate Mosse talking on BBC Radio 4’s Woman’s Hour about setting up a Women’s Prize for Fiction, she telephoned and offered a cast of a sculpture of her as a prize. Her younger brother was the actor David Niven.

painted steel246cm high, 101cm wide, 40.5cm deep (96.8in high, 39.75in wide, 15.9in deep)Footnote: The present work is unique. Polarity (1968) was exhibited at Robert Adams's one-man show at Gimpel Fils in 1968. The works shown were sculptures in steel and several were on a large scale. This was a milestone in his practice, before turning to smaller scale bronze and marble works, perhaps a reflection on the new wave of British sculptors of the ‘New Generation’, including Philip King and Sir Anthony Caro, that had shown at the Whitechapel Art Gallery in 1965. Formed of rectangular plates, bent through 90 degrees and painted with a smooth glossy black paint, Polarity and the other contemporary sculptures display a higher level of three-dimensionality and controlled movement than Adams had produced in a decade. He commented soon after the Gimpel Fils exhibition that ‘My show in September was a turning point. Things as you pointed out were three-dimensional. Polarity, attempting to get away from flat sheets and create volume.’ (Quoted in Alastair Grieve & Robert Adams, The Sculpture of Robert Adams (British Sculptors and Sculpture Vol.3), Ben Uri Gallery & Museum, London, 1992, p.115) There was a incredible confidence to Adams’s large works in his 1968 exhibition, and Polarity can be considered one of his major sculptures of the period, selling to the influential collectors Patsy and Raymond Nasher of Dallas, Texas.

each signed, patinated bronze25cm high, 20.5cm wide (9.9in, 8in wide) and 25cm high, 14cm wide (9.9in high, 5.5in wide)Footnote: Grizel Niven was a pupil of Henry Moore in the 1930s and began direct carving under his influence. Later in her career she won acclaim for her sculpture for the Dachau Concentration Camp memorial. After hearing Kate Mosse talking on BBC Radio 4’s Woman’s Hour about setting up a Women’s Prize for Fiction, Niven offered a cast of a sculpture of Mosse as a prize. Her younger brother was the actor David Niven.

A mid 20th Century bronze sculpture of a nude, 28cm tall

signed, numbered and dated 'ADAMS OO/ 1980' (to base), bronze9cm high, 7cm wide (3.5in high, 2.75in iwde)Footnote: Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

1/7, initialled, titled, dated and numbered (to base), bronze on slate base15.2cm high (including base) (6in high (including base)Provenance: Information from WBG diaries: "Nov 15 1991 WBG bought a small sculpture from Denis Mitchell for £600"

signed 'ADAMS' (to reverse), painted earthenware25cm diameter (9.8in diameter)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design.Note: This is possibly from a set of 10 different designs, although Grieve only identifies three. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

from an edition of 6, bronze15.5cm high, 10.2cm wide (6.1in high, 4in wide)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.Note: This sculpture inspired Wilhelmina Barns-Grahams painting Ultramarine II, 2000 (Lynne Green, 2011, p.276). Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.

Tim Nicklin (Kenyan 20/21st), a bronze sculpture of two Girafes on a rocky base, limited edition 3/10, signed and dated 1996. 38cm high x 70cm wide. Provenance Original invoice from Talisman 2006

bronze, signed with initials in the bronze, mounted to an ebonised plinth base19.5cm high (24.5cm high overall)Provenance:Purchased by the present vendor's father directly from the artist in London, circa 1960Footnote: A seminal figure in contemporary sculpture, Israeli born sculptor, painter and graphic artist, Menashe Kasdishman, received his early training under Moshe Sternschuss at the Avni Institute of Art and Design in Tel Aviv, before moving to London, in 1959, where he continued his training at St Martin’s School of Art and, later, at The Slade.Cast in bronze and dating from the earliest years of Kadishman’s career, the present lot is heavily indebted to modern minimalist sculpture and cites the work of Henry Moore as an important influence. Informed by allegories and parables, and straddling Western and Non-Western artistic traditions, Kadishman’s Totemic Crucifix penetrates the veil that separates art and anthropology.

Frederic Remington bronze statue of Native American horseback warrior sculpture, signed

A contemporary bronze hare sculpture, of boxing hares, with foundry stamp Paris signed Nick, on hardstone plinth 23.5 cm high

Alfred-Guillaume-Gabriel, Comte D'Orsay (French, 1801-1852): A bronze equestrian portrait of Arthur Wellesley, 1st Duke of WellingtonDepicted on his favourite charger 'Hanover' wearing a plumed bicorne and holding a telescope in his right hand, his sheathed sword to his left side, on rectangular naturalistic base, the base signed to one side and to the underside of the horse COMTE D'ORSAY SCULPT. 1848, the opposing side of the base inscribed and numbered T.W. No 17, raised on a contemporary black marble rectangular plinth, 44.5cm high approximately overallFootnotes:The Comte d'Orsay studied sculpture in Florence and Paris before arriving in London in 1823. Known as a flamboyant dandy, he mixed in aristocratic circles and enjoyed success as a both a painter and sculptor in Paris and London, exhibiting at the Royal Academy throughout the 1840's and also at the Paris Salon from 1845. He was nominated as the Director of the Beaux-Arts in 1852 by Louis-Napoleon and exhibited his bronze equestrian statue of Napoleon in 1849 at the Paris Salon.The sculptor was apparently particularly proud of the present equestrian statuette which caused a stir in London and greatly pleased the Duke. He also produced a bust of the Duke which was reproduced in Parian ware as well as painting a portrait of Wellington which was apparently one of his favourite depictions and which is now in the National Portrait Gallery.A large edition of this model inscribed 'PRESENTED TO LADY ELIZABETH MARCHIONESS OF DOURO ON THE 18TH JUNE 1852 BY FIELD MARSHAL ARTHUR DUKE OF WELLINGTON' was sold at Sotheby's, London, May 29, 2008, lot 20.Literature: P. Kjellberg Les Bronzes du XIX Siecle, Les Editions de L'Amateur, Paris (p. 526).For further information on this lot please visit Bonhams.com

After Christian Daniel Rauch (German, 1777-1857): An early 19th century German cast iron figure of General Blücher probably cast at the Royal Prussian Iron Foundry, Berlin, circa 1825Probably cast at the Royal Prussian Iron Foundry, Berlin, circa 1825The figure clad in a swirling cloak stepping forward with raised left hand and brandishing his sword in his right beside a rustic free stump, the stump inscribed C R F, possibly for Christian Rauch, Fecit) on rectangular base, the iron with bronze patinated finish, 68cm highFootnotes:Gebhard Leberecht von Blücher, Fürst von Wahlstatt (1742-1819) was the Prussian General Feldmarschall who led his army against Napoleon at the Battle of the Nations, alongside Russian, Swedish and Austrian allies, at Leipzig in 1813 and at the Battle of Waterloo in 1815.Following Napoleon's return from Elba, Blücher commanded the Army of the Lower Rhine. In the June 1815 campaign he sustained a serious defeat at Ligny on 16 June, just two days before the decisive battle at Waterloo. In the course of this battle he was seriously wounded but recovered sufficiently to rejoin his troops, despatching two corps to join Wellington and then led the remainder of his men, arriving on the battlefield in the late afternoon. With the battle hanging in the balance his army intervened with decisive and crushing effect; his vanguard drew off Napoleon's reserves and crushed the remains of French resistance leading the way to a decisive victory. The Prussians followed with a relentless pursuit of the retreating Armée du Nord.In the evening, after the battle, Wellington and Blücher met close to the inn at La Belle Alliance where Napoleon had abandoned his headquarters. During the meeting Blücher suggested the battle should be remembered as La Belle Alliance, to commemorate the European coalition formed to defeat the French Emperor. Wellington instead recommended Waterloo, the village just north of the battlefield, where he had spent the previous night, commenting that it would not do to name the battle after the Emperor's command post.Christian Daniel Rauch founded the Berlin school of sculpture and was the foremost German sculptor of the nineteenth century. This present lot is a reduced copy of a monumental statue cast in 1824 at the Royal Prussian Iron Foundry in Berlin, founded in 1804. The original was displayed in the city of Breslau. The use of iron, rather the more usual bronze used for public sculpture was utilised because it was considered more than just a sculptural material, being the very substance of the Prussian nation led by it Iron Chancellor.A copy of Rauch's figure of Blücher cast by the Royal Prussian Iron Foundry sculpture was acquired by the Earl of Clanwilliam on behalf of George IV in 1825 and is in the Royal Collection at Windsor. The Earl wrote to Sir William Knighton, the King's Private Secretary, that he had visited 'the iron foundry' in June of that year 'where I found the statue and pedestal of Blücher's monument at Breslau...' It was recorded as being received in London 17 September 1825 (Jutshams Receipts II 207) described as an 'iron cast of Blücher & pedestal' and was sent to the castle at the end of November 1828.Similar examples of this reduced model are in the collections at Corsham Court in Wiltshire and the Wellington Museum at Apsley House.For further information on this lot please visit Bonhams.com

The Last Moments of Napoleon, a cast bronze figure by Vicenzo Vela (Italian 1820-1891)19th centuryThe bronze figure seated in a chair, brooding over a map of his lost Empire, signed V.VELA and inscribed F BARBIDIENNE, FONDEUR 19cm highFootnotes:Vela exhibited his model at the Salon of 1867. It struck an immediate chord with a public whose anxiety over the eclipse of their country by Prussia was equalled by a nostalgia for the First EmpireEXHIBITED:Waterloo Memorial Museum, 'Napoléon: de Waterloo à Sainte-Hélène, la naissance de la légende,' 5 May to 17 October 2021LITERATURE:Wardropper, I. & Licht, F., Chiselled With a Brush, Italian Sculpture 1860-1925 from the Gilgore Collections, Chicago, 1994, p.36. no.1This 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

Lorenzo Quinn (b.1966) - "Time Flies", a contemporary bronze sculpture in the form of a man passing through an hour glass, black veined marble square base, signed and numbered 66/125

Bernard Kim (born 1942) bronze sculpture of three maidens swooping through air or water, playing a trumpet, flute and harp, mounted on rectangular black plinth base, signed Kim B. and dated 1990.1, 52cm high, 60cm long.

French patinated bronze sculpture of a metal worker riveting beams after an original by Achille Emile Jacopin (1874-1958), signed, with impressed foundry mark and numbered 29DA, 57cm high.

LARGE BRONZE ABSTRACT SCULPTURE - 60CMS (H)

George Best Rare Bronze Figure: 1996 Brian Grieves bronze sculpture figurine of George Best in action. Bronze figure on solid circular brass base measures 22cm high and weighs 3.5 kg. Painted in oil and enamel. Cast at Lunts Foundry in Birmingham. Number 2 of only 4 produced worldwide. Comes with Certificate of Authenticity.

* THOMAS SYMINGTON HALLIDAY MBE FRSA (SCOTTISH 1902 - 1998),SALMON LEAPINGa carved wood sculpture, signed36cm high.Note T.S Halliday was born in Thornhill near Dumfries. His father was a grain merchant and he grew up on a farm. After attending Ayr Academy, Halliday spent some years working as a marine engineer on the River Clyde in Glasgow before he enrolled at The Glasgow School of Art. Helped by the artist Norman Forrest, Halliday began his career as a sculptor in 1932 and would, in due course, produce figures of animals and birds in wood, bronze and terracotta. Halliday worked as the Art Master at Prestwick High School for several years and also taught at Ayr Academy. In 1941 he was appointed Principal of the art department at the High School of Dundee, a post he retained until he retired in 1965. During World War Two, Halliday painted ship building and naval camouflage operations on the Clyde. Two of these paintings were subsequently purchased by the War Artist's Advisory Committee and are now held by the Imperial War Museum in London. Later he was commissioned to paint a large mural of the Battle of Narvik for the Royal Naval Dockyard at Rosyth. In 1947 he co-edited, with the poet George Bruce, the magazine "Scottish Sculpture". For many years, Halliday lived at Wormit, Newport-on-Tay. There he carved the war memorial for the parish church and designed a coat of arms for the Town Council. Newport-on-Tay Town Council also commissioned him to produce a carving of a stag, which they presented to HM The Queen in 1958. He designed numerous stained glass windows including several for parish churches in and around Ayr and Dundee. He was a founding member of the Guild of Aviation Artists, was a member of the Royal Society of Marine Artists and was elected to the Society of Scottish Artists in 1943. In 1963 he exhibited works with the New Scottish Group alongside his great friend JD Fergusson. Halliday was also a regular exhibitor with both the Royal Scottish Academy and the Royal Glasgow Institute of the Fine Arts. He was awarded an MBE in 1963.

* DAVID SHRIGLEY,CHOCOLATE IS NOT THE PROBLEMlithograph on 150g silk paperimage size 77cm x 57.5cm, overall size 83cm x 63cm Framed and under glass.Note: Original exhibition print made on the occasion of David Shrigley’s solo exhibition DON’T TOUCH THE WORMS at Copenhagen contemporary. Note 2: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi-faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shrigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including the National Galleries of Scotland and Tate.

* ELEANOR CHRISTIE-CHATTERLEY (SCOTTISH b. 1929),THE GREEN MAN WALKINGbronze sculpture (cast bronze), 175cm highNote: The Green Man Walking is inspired by the ancient tree-spirit appearing in folklore and myth in many countries and many guises. One of the most prolific concentrations of "green men" is at Rosslyn Chapel where there are reckoned to be "around 100" within the chapel and on the exterior of the building. This striding figure is a metaphor for current concerns for the preservation of the environment expressing the spirit of nature through stance, form and texture. The Green Man Walking seems to carry his burden lightly, stepping out with a certain jauntiness and optimism. Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. The original gallery price for The Green Man Walking was £11,000,

Antique Chinese Qing heavy bronze dragon sculpture. Comes with gilt moulded base. [Dragon measures 9.5x22x11cm]

After Phoebe StablerA Chalk bronze sculpture/ bust of a young girl. Sat upon a wooden base.

Possible Karl Hagenauer Bronze head sculpture sat upon a butterscotch amber base.

AFTER JEAN COCTEAU (1889-1963)Cyclades signé, daté et numéroté EA 23/50 bronze doré 21,5 x 12,5cm (8 1/4 x 4 3/4in).Conçu en 1926 et fondu circa 1990. Ce bronze est une épreuve d'artiste en dehors de l'édition standard de 500 portant le cachet de l'éditeur, les Editions Artcurial, Parissigned, dated and numbered EA 23/50, ona of fifty artist's proofs aside from the edition of 500 bronze sculpture with marbled baseFootnotes:Cette sculpture est accompagnée d'un certificat de l'Editeur.For further information on this lot please visit Bonhams.com

A LARGE AND UNUSUAL CAST BRONZE SCULPTURE, modelled as a deer's head with floral antlers. Approx.4ft x 2ft 8ins x 2ft.

A late 19th / early 20th century patinated bronze sculpture of a recumbent greyhound upon a rectangular off-white marble base (the base 18.5cm)

A vintage cast bronze abstract fertility sculpture with circular base. H.20cm

Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today.  In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear.  This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.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

George Henri Laurent (1880-1940) Marabou standing a tall silvered bronze sculpture of a bird, signed in the cast G.H.Laurent, 38.5cm. high Provenance A private collection of Art Nouveau and Art Deco.

Louis Albert Carvin (1875-1951) Borzoi lying silvered bronze sculpture of a dog, on polished black slate base etched Carvin to base 50.5cm. wide Provenance A private collection of Art Nouveau and Art Deco.

Josef Lorenzl (1892-1950) Dancer with a disc patinated bronze sculpture on veined onyx desk stand base, signed in the bronze Lorenzl 20.5cm. high (figure), 36cm. wide (stand) Provenance Art Deco & Design, Woolley and Walls Auctioneer's 21st March 2018, lot 160. Private collection.

A contemporary patinated bronze sculpture, naked dancer, signed Laude, on marble base, height 24cmGood condition

A patinated bronze sculpture, foxes and cubs, early to mid-20th century, height 12cm, diameter 16cmVery good condition, no signature or impressed marks

A patinated bronze sculpture, Madonna with infant Christ, unsigned, early 20th century, height 9cmGood condition, no signature or impressed marks

A patinated bronze sculpture, Classical child on a rock, unsigned, late 19th/early 20th century, height 17cmGood condition

A patinated bronze sculpture of Neptune, on black marble base, unsigned, height 32cmVery good condition, contemporary bronze, probably 30-40 years old

LIANE KATSUKI (Entre Rios, Brazil, present)."Triade of Amon", 2004.Bronze sculpture in 4 parts with reddish-brown patina and polished gloss. Marble base.Signed.Measurements: 29 x 19 x 10 cm (sculpture); 5 x 18 x 14 cm (pedestal).Sculptor and jewelry designer, Liane Katsuki began her training studying Fine Arts in Salvador de Bahia, to later expand it in France, at the Schools of Fine Arts in Paris and Toulouse. Currently based in Spain, throughout her career she has held more than two hundred solo and group exhibitions, and her work has been recognized with the De Beers Diamond, Tahitian Pearls, Public Sculpture, Caja de Madrid, Fumcisa and Majadahonda awards. She has also collaborated with important designers, among them Pierre Cardin. She is currently president of the Spanish Association of Author Jewelry, and a member of the artistic group ProArte. Liane Katsuki's pieces are characterized by their modular personality: two or three elements make up each of the units created by the artist: elements that integrate, relate and complement each other in an exceptional way, making the most of shapes and materials.

MANUEL MARÍN (Cieza, Murcia, 1942 - Málaga, 2007).Untitled, c. 70's.Polychrome iron.Signed with die.Measurements: 17 x 27 x 15 cm.It is worth mentioning the work of Manuel Marín, which shows his clear link with the avant-garde currents, the application and development of them in his own production through a unique and personal language.Manuel Marín started in the world of bullfighting at the age of ten, and made his first bullfight at the age of sixteen. However, at the age of twenty he traveled to London and began working in an art gallery, entering definitively into the world of sculpture. There he met the British artist Henry Moore, who hired him as an assistant in the realization of his bronze sculptures. In 1964 he moved to New York, where he worked as an art restorer until he opened his own gallery, The American Indian Art Gallery, which counted among its clients Warhol, Basquiat, De Kooning, Keith Haring and others. Attracted to mobile sculptures, he began creating his own works in 1969, and the following year held his first exhibition at the Alan Brown Gallery in Scardele, New York. Since then he has shown his work in various New York venues, as well as in Canada, Italy, Mexico, China, Puerto Rico, Japan and Spain. He currently has public monuments in various parts of the United States and Spain, and is represented in Spanish and foreign collections, having achieved critical and public recognition for his artistic production.