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Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

§ SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) THIRD PORTRAIT OF MEUM (MASK), CONCEIVED IN 1918 bronze, on a stepped base(the bronze 23cm high (9in high) excluding base, overall 32.5cm high (12.75in high))Footnote: Provenance: Private Collection, USA; Bonhams, London, 22 November 2016, Lot 160; Private Collection, UK. Literature: R. Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1963, p.94, pl.145 (illustrated another cast); E. Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, pp.142-3, cat. no.89 (illustrated another cast). Buckle noted that that the mask of Meum ‘was one of three ‘Masks’ Epstein modelled between 1916 and 1918. The idea of making masks, that is, faces with no backs to them, was probably inspired by African sculpture’. (Buckle, p.94)

§ DAME ELISABETH FRINK (BRITISH 1930-1993) SENTINEL III, CIRCA 1960 signed, bronze, unique edition(68cm high, 18.5cm wide (26.75in, 7.25in wide))Footnote: Provenance: Private Collection, UK from the 1960s and by descent. Literature: Ratusziniak, Annette (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, 2013, p.74 for comparable examples. This work has been registered with the Estate of the Artist and will be included in any future catalogue raisonné. We would like to thank the Estate of Elizabeth Frink for their assistance in cataloguing the current work. The male form was at the core of Elisabeth Frink’s sculptural practice. Having come from a younger generation so heavily smarted by the Second World War, she saw men’s nature as a root cause of war and the atrocities of warfare. Drawn to the male figure, yet equality repulsed by it she stated ‘I have focussed on the male, because to me he is a subtle combination of sensuality and strength with vulnerability’. Out of the war a new generation of sculptors had grown, the ‘Geometry of Fear’ group, which included Lynn Chadwick, Kenneth Armitage, Eduardo Paolozzi and Reg Butler – all of whom were concerned with the post-war condition of the human form, and it is within this context that her work Sentinel sits. Warriors, sentinels, and helmeted heads inhabit Frink’s oeuvre in the late 1950s into the 1960s, using the male form as an instrument to express both aggression and vulnerability, starkly contrasting to the traditional notion of man as the ideal hero. Frink was subverting the natural order by reverting the age-long tradition of the artistic male gaze on the female form.

§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) STANDING COUPLE, 1980 5/9, signed with initial, numbered and inscribed '789S', bronze with black patina and polished(43cm high, 36cm wide, 53.3cm deep (16.9in high, 14.2in wide, 21in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, pp. 338-339, no. 798S (another example illustrated). Provenance: Private Collection, South Africa; Bonhams, London, 2 July 2002, Lot 132; Private Collection, UK. Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.

§ ◆ LYNN CHADWICK C.B.E. R.A. (BRITISH 1914-2003) SITTING COUPLE, 1975 E/2, 3/8, stamped 'CHADWICK', numbered and dated, bronze(21cm high, 36.5cm wide, 26.5cm deep (8.25in high, 14.35in wide, 10.35in deep))Footnote: Literature: Farr, Dennis and Chadwick, Eva, Lynn Chadwick Sculptor, Lund Humphries, 2006, p. 310, no. 708 (another example illustrated). Lynn Chadwick (1914-2003) is widely considered to be one of the most important British sculptors of the twentieth century, often heralded as the successor to Henry Moore. Born and raised in London, Chadwick did not have any formal art education and began to transfer his experience as an architectural draughtsman to his sculptures from the end of World War II, during which he served as a pilot. In 1956, a few years after he began to cast in his iconic bronze, Chadwick’s career received immense acclaim when he won the International Sculpture Prize at the Venice Biennale, surpassing the noted favourite Alberto Giacometti and becoming the youngest ever recipient of the prestigious prize. In 1971, he opened his own foundry at his estate at Lypiatt to produce small bronzes and jewellery. Known for his keenness to blur the lines between abstraction and figurative work, from 1973 we note a development in his bronze figures as they begin to be clothed in sumptuous drapery, adding a mysterious and elusive quality to them. These cloaked, figurative pieces became an important part of his oeuvre in the 1970s and into the 1980s and remain instantly recognisable, as he pushed the boundaries between abstraction and naturalism. Chadwick’s exploration of seated figures in the early 1970s, such as Sitting Couple from 1975, marks an important development in his work. Always a keen observer of human movement, his figures are more elongated and elegant as they become more erect, in contrast to his earlier works. In a book on the artist’s life, his wife Eva Chadwick discusses the importance of movement in his work with art historian Dennis Farr: “Chadwick has always been intrigued by movement, either actual or implied, in his sculpture. From his early mobiles to his dancing Teddy Boy and Girl series of the 1950s to his cloaked walking women with windswept hair of the 1980s, he has explored figures in motion. Sometimes their cloaks and draperies flow out in the wind from behind them, or are caught by a gust and wrap themselves around the figures. This essentially lateral progression gives place to a vertical rhythm in his groups of, usually two, figures.” (D. Farr & E. Chadwick, op. cit., 2006, p. 15). However, the importance of mass remained paramount to these groupings in the way in which the couple join to become one solid unit. This abstraction of form and elegant elongation continued towards the 1980s, which is visible in works such as Standing Couple from 1980. The long, fluid cloaks which shroud the couple add to the visually joining of the figures as one, all the while maintaining Chadwick’s signature signifier of maleness (oblong head) and femaleness (triangular head) to contextualise the couple. Figures from this period of Chadwick’s work represent his artistic maturity and allow the viewer to import their own narrative on these anonymous figures. Like the artist’s larger outdoor sculptures, the works offered here have an eminent presence and command the attention of those around them due to their imposing form and mysterious essence. We would like to thank Sarah Chadwick for her assistance in cataloguing the current work.

‡ RICHARD JOLLEY (AMERICAN B.1952-) CRESCENT, 1992 signed and dated (to base), verdigris bronze on marble base(55.5cm high (21.75in high) (including base))Footnote: Provenance: A Private European Collection of Studio & Contemporary Glass The works of internationally acclaimed glass artist Richard Jolley are instantly recognisable for their expressive and eye-catching, almost dreamlike, forms. Born in Kansas in 1952, Jolley moved to Tennessee in his youth where he began his formal education at Tusculum College under Michael Taylor. Today, Jolley continues to live and work in Tennessee, where he built a glass studio in 1975. His interest in the human condition is evident in his work, with natural forms and figurative works with an almost caricatural abstraction being a key identifier of Jolley’s pieces. He has received several awards including the Tennessee “Governor’s Distinguished Artist Award” in 2007, becoming the youngest ever visual artist to receive this accolade. Jolley has also received numerous important commissions including his monumental sculpture in the Great Hall of the Knoxville Museum of Art, which is one of the largest glass-and-steel assemblages in the world.

§ EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (SCOTTISH 1924-2005) CRASH HEAD, CONCEIVED 1970 stamped and numbered 'E. PAOLOZZI.10.10' (to front of base), bronze with gold patina and steel chain(39.5cm high (15.5in high) (including the base))Footnote: Provenance: Private Collection, Canada; Christie's, London, 23 October 1996, Lot 58; Bonham's, London, 20 November 2013, Lot 90. Literature: Winfried Konnertz, Eduardo Paolozzi, DuMont, Cologne, 1984, p.183, cat.no.341 (another cast ill.b&w); Fiona Pearson, Paolozzi, National Galleries of Scotland, Edinburgh, 1999, p.51, cat.no.57 (another cast col.ill). By 1970, Eduardo Paolozzi was distancing himself from the ‘Pop Art’ label, feeling it conjured up images of ‘diving into a barrel of Coca-Cola bottles.’ He was engaging with darker subject matter in a way that he felt extended the tradition of Surrealism. Close friends with the science-fiction writer J.G. Ballard, both men had a particular fascination with car crashes, with Ballard specifying that he was interested in the modern day engagement with violence, which mainly took place in the mind, rather then in our physical responses. He felt the car crash was often the one act of violence that the modern day person would physically experience in their life, and even this dramatic impact is between two machines. Interestingly, a shining symbol of modern success and achievement, the car, becomes a destructive and dangerous force in our lives, dream turns nightmare. Crash Head was produced for Paolozzi’s Tate retrospective in 1971. Eduardo was particularly interested in technology and man’s relationship with machines, often fusing human and machinery elements. In Crash Head, he uses the head of a safety test dummy as a model and then applies machine elements; a chunky chain affixed to the head and Frankenstein-esque bolts to the neck. His choice of the model used in car safety testing and demonstrations is a direct engagement with the idea of the violence a car can inflict and an explicit set-up of man versus machine. Yet the quality of the materials, attractive contrasting silver and bronze colours and sleek finish of the sculpture belie these darker undercurrents. The sculpture was produced in an edition of ten. There is one in the National Galleries of Scotland collection, bequeathed by Gabrielle Keiller in 1995, and another is held in the collection of the Stirling Smith Art Gallery & Museum, gifted by The Scottish Arts Council in 1988.

An oval bronze sculpture of pierced and torn form mounted on a tall square wooden plinth, height 26cm, length 63cm, height including plinth 96.5cm.Provenance: Purchased from Ronald Pile Gallery, Ely.Additional InformationAppears good with no obvious signs of faults, damage or restoration. 

Leon Underwood (British, 1890-1975)Father and Son bronze with a dark brown patina33.5cm (13 3/16in) longConceived in 1963, from the edition of 7Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, U.K.ExhibitedLondon, Royal Academy, Summer Exhibition, 7 May-14 August 1966, no. 1466 (another cast)London, Marlborough Fine Art, Helen Lessore and the Beaux Arts Gallery, February 1968, no. 56 (another cast)Colchester, Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, no. 83 (another cast)London, Archer Gallery, Leon Underwood, Michael Aram, Georges Brunon, 30 October-29 November 1969, no. 57 (another cast)LiteratureB. Whitworth, The Sculpture of Leon Underwood, Hampshire, 2000, p. 143, no. 225, illustrated on p. 143 (another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Leon Underwood (British, 1890-1975)The Fledgling bronze with a light gold patina22.5cm (8 7/8in) high, excluding baseConceived in 1960, from the edition of 7Footnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, U.K.ExhibitedLondon, Kaplan, An Exhibition of Sculpture by Leon Underwood, 2 March 1961, no.4 (another cast)New York, NM Acquavella Galleries, The Artist Serves the Church, 1962, no. 18 (another cast)London, Kaplan Gallery, Sculpture by Leon Underwood, 24 April-18 May 1963, no. 21 (another cast)London, Upper Grosvenor Gallery, September 1963 (another cast, details untraced)Colchester, Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, no. 61 (another cast)London, Archer Gallery, Leon Underwood, Michael Aram, Georges Brunon, 30 October-29 November 1969, no. 53 (another cast)LiteratureB. Whitworth, The Sculpture of Leon Underwood, Hampshire, 2000, pp. 107, 140, no. 190, fig. 88, illustrated on p. 107This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Leon Underwood (British, 1890-1975)The Archaeologist signed, numbered and dated 'Leon U./III/VII '62' (on base)bronze with a dark brown patina34.5cm (13 9/16in) high, excluding baseFootnotes:ProvenanceThe Artist, and thence by family descentPrivate Collection, U.K.ExhibitedNew York, NM Acquavella Galleries, The Artist Serves the Church, 1962, no. 25 (another cast)London, Kaplan Gallery, Sculpture by Leon Underwood, 24 April-18 May 1963, no. 4 (another cast)Colchester, Minories, Leon Underwood: A Retrospective Exhibition, 9 August-10 September 1969, no.75 (another cast)London, Archer Gallery, Leon Underwood, Michael Aram, Georges Brunon, 30 October-29 November 1969, no. 67 (another cast)Chichester, Pallant House Gallery, Leon Underwood: Figure and Rhythm, 7 March-14 June 2015LiteratureB. Whitworth, The Sculpture of Leon Underwood, Hampshire, 2000, pp. 96, 108, 141, no. 210, fig. 75, illustrated on p. 96 (another cast)S. Martin, Leon Underwood: Figure and Rhythm, Pallant House Gallery, Chichester, 2015, pp. 89, 123, fig. 119, illustrated on p. 89 (another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Jacob Epstein (British, 1880-1959)Olive bronze with a dark brown patina32.5cm (12 13/16in) high, excluding baseConceived in 1934Footnotes:ProvenanceAcquired by the family of the present owner circa the mid-1990s, and thence by descentPrivate Collection, U.K.ExhibitedLondon, Leicester Galleries, Carving and Bronzes by Jacob Epstein, March-April 1935, no. 13, illustrated (another cast)LiteratureRichard Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1962, pl. 329, illustrated on p. 214 (another cast)E. Silber, The Sculpture of Jacob Epstein with a Complete Catalogue, Phaidon Press Limited, Oxford, 1986, no. 250, illustrated on p. 177 (another cast)B.A. and E.P. Schinman (ed.), Jacob Epstein. A Catalogue of the Collection of Edward P. Schinman, Fairleigh Dickinson University Press, Rutherford, p. 51, illustrated (another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Michael Ayrton (British, 1921-1975)Night Landscape oil on board24 x 35.5cm (9 7/16 x 14in).Footnotes:ProvenanceWith Matthiesen Gallery, London, where acquired by the family of the present owner, December 1962, and thence by descentPrivate Collection, U.K.Night Landscape is part of a series of works on this theme which Ayrton painted during the early 1960s, inspired by his visits to Greece and his developing exploration of the legendary flight of Daedalus and his son Icarus out of the Cretan labyrinth built by Daedalus to house the Minotaur. Icarus flew too close to the sun, which destroyed his wings so that he fell into the sea and drowned; Daedalus survived and landed at Cumae, near Naples. This legend, and the associated story of the Minotaur, obsessed Ayrton for almost twenty years, resulting in some of his most powerful works in sculpture and painting, as well as two novels and a full-scale labyrinth in America. At one level the Night paintings record his fascination with the Greek landscape itself, especially Delos and the Cycladic islands; they are also part of his developing vision of the reality of the flight, of which he wrote in his novel, The Maze Maker, a fictionalised autobiography of Daedalus himself. Daedalus recalls nightfall on the wing after their escape:'The night came up, dredged from the sea and filled with gathering cloud. I looked down and saw the sea scuffed with breakers, ruffled and leaden ... I knew and feared the trap and end of night [and] I felt it closing in on me ...Far below I saw the seal-backed shapes of islands sleeping under me. There will be nothing remarkable in this to you, but it was new to me ... I saw how islands chanced above the surface and where, but for a fathom or so, there would have been other islands and I recognised the disorder of the earth's surface poured on its core in a flow like bronze escaped from the kiln and spreading, cooled and wrinkled on the ground.'The colours of the landform in the present lot are very much those of liquid and cooling bronze, insofar as paint can render them, and the vastness of the night sky reflects the horror felt by Daedalus flying through the dark. The Night paintings were important to Ayrton, both as a celebration of his love of Greece and its spectacular interpenetration of land and sea and as a vital visual tool extending his understanding of this ancient myth in practical as well as legendary terms.We are grateful to Dr Justine Hopkins and the Ayrton Estate for their assistance in cataloguing this lot and for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Michael Ayrton (British, 1921-1975)Return numbered '5/9' (to reverse)bronze with a dark brown patina22.5cm (8 7/8in) longConceived in 1969Footnotes:ExhibitedLondon, Thomas Agnew & Sons, Michael Ayrton: Paintings, Drawings and Sculpture, March-April 1984, no.37 (another cast)LiteratureP. Cannon-Brookes, Michael Ayrton: An Illustrated Commentary, Birmingham Museums and Art Gallery, 1978, no. 194, illustrated on p. 108 (another cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

African art A bronze royal family sculpture, DogonMali . . Cm 9,00 x 27,00 x 5,50.

A cold painted bronze sculpture of a wild boar, with mouth agape and tusks on show, 17cm long

Carrier-Belleuse, gilt patinated bronze sculpture, Liseuse, signed, height 32cmPatination slightly rubbed on the high points but no damage or repairs

Schumacher, German Art Deco bronze industrial sculpture, depicting a worker by an anvil, signed on base, inscribed Faber on marble plinth, height 22cmGood condition

A 19th century patinated bronze sculpture, standing Greek figure, unsigned, height 39cmGood original condition, patina good, no damage or repairs

HARRY WHILE - patinated bronze sculpture, standing Classical male nude, signed on the base dated 1911, black marble plinth base, overall height 50cmVery good condition, good rich dark patina, no damage or restoration

A patinated bronze sculpture of a goblin reading a book, length approx 56cm

An African patinated bronze sculpture of a Tribesman smoking a pipe, height 10.5cmGood condition

A late 19th/early 20th century Japanese patinated bronze sculpture, depicting a figure on a clifftop and giant carp below, height 45cmAll seems to be present and in good condition

A LARGE BRONZE SCULPTURE OF A PUG SEATED - H:35CM

A LARGE BRONZE SCULPTURE OF A GUN DOG - H:36CM

Large late 20th Century dark patinated bronze sculpture of a North American native Indian firing a bow, on a marble plinth base, unsigned, 32ins high overallIt is not signed.

A WORKING BRONZE MINIATURE REPLICA OF THE 1977 SILVER JUBILEE DOLPHIN SUNDIAL LOCATED AT THE NATIONAL MARITIME MUSEUM, GREENWICH designed by C. St. J. Daniel and depicting two dolphins holding a curved analemma supported by a cresting wave, on green marble base with presentation inscription to rim, contained within original blue leatherette box of issue with December-June analemma contained within, the sculpture -- 9 x 9in. (23 x 23cm.); the box -- approximately 10½in. (27cm.) square Provenance: The Marine Society & Sea CadetsCondition report: fine overall condition – as new, apparently unused

Collection of various sculpture, including plaster figure of seated woman, 18cm high, a Greek style miniature bronze helmet, metal lizard, other itemsProvenance: The Robert Barley Collection

*Jonathan Clarke (born 1961) cast bronze sculpture - three boats on a platform, with three moveable bronze boats on a verdigris bronze plinth. Plinth measures approximately 46cm x 26.5cm. Signed JC , AP2.

Contemporary bronze miniature sculpture of three owls on a branch, signed with monogram MS and numbered 124/150, 9cm wide, together with a cold painted metal owl figure

Chinese Art A bronze figure of VairochanaChina, Qing dynasty, 18th century (?) . . Cm 13,00 x 20,00. dark patina bronze sculpture depicting the Buddha in the act of hiding the index finger of his right hand in the palm of his left hand, with this gesture alluding to the profound concept of the “sunyata”, or the emptiness of everything.

An Art Deco Patinated Bronze Sculpture of a reclining nude by Georges Gori for La Pointe Editeur, C.1930s, foundry mark and signed.

BRONZE ABSTRACT SCULPTURE - 490CMS HEIGHT

JENNINE PARKER (BRITISH CONTEMPORARY) 'ELEVATION', a limited edition bronze sculpture of a dancer 34/195, impressed initials, no certificate, with box, approximate height 48cm, (Condition Report:- dancers foot is loose and has scratched the granite plinth, packaging is incomplete) (ARR)

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, edition number 305/495 (Condition Report:- yellow heart print has a scratch to the frame, wooden packing case and packaging carton are tatty) (ARR)

DOMINIQUE VAN DEN BOSSCHE (BELGIAN 1854-1906)Beauty and Pan, circa 1880bronze with gilt and light brown patina height including base: 70 cm (27 1/2 in.)signed on baseCONDITION The sculpture appears in good condition. Scattered rubbing, most notably to the gilt detailing. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

JOSEF LORENZL (AUSTRIAN 1892-1950)Petra, circa 1930bronze with silver patina height including base: 35 cm (13 3/4 in.) signed on back of base CONDITION The sculpture appears in good condition. Rubbing visible to the body and discoloration around the feet and base. Scattered scuffs and nicks to the body visible to the naked eye, most notably to the legs, arms, hand and face. Two minor losses to the silver patina, to the elbow and side body. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

RENZO COLOMBO (ITALIAN 1856-1885)Napoleon, 1885bronze with light brown patina height: 54 (21 1/4 in.) signed and dated left shoulder CONDITION The sculpture appears in good original condition. Light surface dust visible to the naked eye. Rubbing to the rim of Napoleon's hat. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

VASILY GRACHEV (RUSSIAN 1831-1905)Winter Troika, 1880bronze with light brown patina dimensions: 13 x 24 cm (5 1/8 x 9 1/2 in.) signed along baseCONDITION The sculpture appears in very good condition. Surface dust visible to the sculpture. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ADRIEN ETIENNE GAUDEZ (FRENCH 1845-1902) Retour des hirondelles, circa 1900bronze and brown patinaoverall height: 65 cm (25 5/8 in.); dimensions of base: 16.51 x 13.97 cm (6 1/2 x 5 1/2 in.)signed lower rightCONDITION The sculpture appears in very good original condition, minor patina on the back of the swallows wing, as well as minor dust around the marble plinth. Otherwise no other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

AFTER PAUL-EDOUARD DELABRIERRE (FRENCH 1829-1912) Proud Lion , last quarter of 19th centurybronze with golden brown patinaoverall height: 24 cm (9 1/2 in.), dimensions of base: 7.5 x 19 cm (3 x 7 1/2 in.) signed along lower right verso of base CONDITION The sculpture appears in very good condition. Overall surface dust, most apparent around the lion's mane. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

MATHURIN MOREAU (FRENCH 1822-1912) Spring , early 19th century patinated bronze overall height: 54 cm (21 1/4 in.)signed along base CONDITIONThe sculpture appears in very good to excellent original condition. Minor darkening between crevices. Some patina on the base is peeling. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

DEMETRE CHIPARUS (ROMANIAN 1886-1947)Cleopatra, circa 1925bronze with gilt and light brown patina 26 x 38 cm (10 1/4 x 15 in.); dimensions of base: 13 x 41 cm (5 1/8 x 16 1/8 in.) signed on baseCONDITION The sculpture appears in good original condition. Rubbing visible to the gilt resulting in scattered losses, most notably on Cleopatra's legs, elbows and face. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

CLARE SHERIDAN (BRITISH 1885-1970)Bust of Lenin, 1922bronze with brown patina29 x 21 cm (11 3/8 x 8 1/4 in.) signed lower right; signed, dated, stamped with copyright symbol and dedicated on verso: Contributed to / Friends of Soviet Russia / For Famine ReliefRELATED LITERATUREFor this model, see Russian portraits by Clare Sheridan (London: Jonathan Cape, 1921), as Lenin (bust) p. (114) 119 (illustrated) LOT NOTES Clare Sheridan Sheridan was a prominent sculptor, journalist and writer, best known for creating busts for notable sitters and as a cousin of Sir Winston Churchill. In 1910 she married Wilfred (William) Frederick Sheridan, with whom she had two daughters. When her daughter Elizabeth died in 1914, Sheridan was moved to commemorate her grave with a small weeping angel sculpture, and so, history has it, begun her sculpting career. Sheridan then moved from London to France to study under John Tweed (1869-1933) and Professor Edouard Lanteri (1848-1917). She was commercially successful, earning commissions like a portrait bust of H.H. Asquith for the Oxford Union.In the summer of 1920 Sheridan was invited by the first Soviet Russian trade delegation to travel to Russia to make busts of revolutionaries. Once in Russia, she stayed in the Kremlin for two months, sculpting Vladimir Lenin, Leon Trotsky and Felix Dzerzhinsky and Lev Kamenev. (Her affairs with some sitters further amplified her notoriety).Back in London, Churchill and the London Society shunned her, leading to her move to America in 1921 (where she again made headlines for her relationship with Charlie Chaplin). On her second trip to Russia in 1923, she was declared 'persona non grata'. She returned to London in 1924 by a cross-continental journey, recording her travels in her 1925 memoirs, Across Europe with Santaella.Under suspicion by MI5 (whose file noted that she conducted herself in an anti-English and disloyal manner in various foreign countries), she moved to Algeria, where she lived for the next decade. She continued working and writing through the end of her life. CONDITION The sculpture appears in good original condition. Overall surface dust visible to the naked eye. Minor patina to the inscription on verso. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

GOTTHILF JAEGER (GERMAN 1871-1933) Hoop Dancer, circa 1930bronze with gilt patina overall height including base and hoop: 88 cm (34 5/8 in.) signed on baseCONDITION The sculpture appears in age-appropriate condition. Two visible hairline cracks to the top of each shoulder. Scattered losses of gilt to the Dancer's hands and fingers. The hoop has separated on the left side. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

FRANZ PELESCHKA-LUNARD (AUSTRIAN B. 1873) Junge Damen, circa 1910bronze with light brown patina height including base: 85 cm (33 1/2 in.) CONDITION The sculpture appears in good original condition. Light surface scuffs and scratches visible to the naked eye. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

GEORGES LAVROFF [GEORGI LAVROV] (RUSSIAN 1895-1961)Recumbent Steenbok , bronze with brown patina dimensions without base: 23 x 32 cm (9 x 12 5/8 in.), with base: 23 (h) x 42 (l) x 10 (w) cm ( 9 x 16 1/2 x 4 in.) signed, stamped with Marcel Guillemard foundry mark and number 65 on rearCONDITION The sculpture appears in good original condition. Overall surface dust visible to the naked eye. Minor surface scuffs and scratches visible to the body of the deer, most notably to the left side of the back. Should be noted the deer is not attached to the onyx base. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

CARL KAUBA (AUSTRIAN 1865-1922)Revealing Beauty, circa 1890bronze with light brown patina height including base: 24 cm (9 1/2 in.) signed lower right on base versoCONDITION The sculpture appears in good original condition. Rubbing and scattered darks spots visible to the naked eye, most notably to the woman's cape and square plinth. The cape hinged in the front once unhinged the cape opens revealing the woman underneath. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

BILL PROKOPIOF (AMERICAN 1944-1999)Slim Cowboy , bronze overall height: 91 cm (35 7/8 in.); dimensions of base: 20 x 19 cm (7 7/8 x 7 1/2 in.) signed, inscribed with copyright symbol and edition 1/12 lower right CONDITION The sculpture appears in excellent condition. Overall surface dust visible to the naked eye. Light surface scuffs and scratches to the top of the cowboy hat. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

MICHELE AMODIO (ITALIAN 19TH CENTURY)Narcissus, bronzeoverall height with base: 60 cm (23 5/8 in.)inscribed M. Amodio Napoli on back of base CONDITION The sculpture appears in excellent original condition. Scattered surface soiling and darkening to his body visible to the naked eye. Minor chip to his pointer finger. Visible surface dust visible to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

LEON DUFRENE (FRENCH 1880-1917) Putto on Lion's Skin , bronze with dark brown patinaoverall dimensions: 16 x 27 cm (6 1/4 x 10 5/8 in.)signed lower right along baseCONDITION The sculpture appears in great age-appropriate condition. Overall surface dust visible, no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ALBERT MORTIZ WOLFF (GERMAN 1854-1923)Fleeing from the Wolf , bronze with dark brown patina atop marble base overall dimensions including base: 17 (h) x 33.6 (l) x 17.5 (d) cm (6 3/4 x 13 1/4 x 6 7/8 in.) signed lower right, dedicated Geserusch vorm h. Gladendecks Sohn along right edge CONDITION The sculpture is in overall excellent original condition. One extremely fine parabola-shaped scratch by the signature on base. Marble base chipped at center and top back corner. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

AFTER AUGUSTE RODIN (FRENCH 1840-1917)The Thinker , patinated bronze 78.74 (h) x 35.56 (w) x 33.02 (d) cm (31 x 14 x 13 in.) signed right center PROVENANCE Lawrence, NY Estate Clark Auction, 10 July 2016, lot 92 Acquired at the above by current owner CONDITION The sculpture appears in excellent original condition. Visible surface dust. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

BS (20TH CENTURY ARTIST) Astronomer's Precession, 1966bronze with patinaoverall height: 58 cm (22 7/8 in.); dimensions of base: 18 x 24 cm ( 7 1/8 x 9 1/2 in.) signed and dated lower leftCONDITION The sculpture appears in good original condition. Minor patina and discoloration visible to the naked eye, most notably to the front right leg, interior of legs and perimeter of the base. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A FRENCH BRONZE ART NOUVEAU VASE BY LUCIE SIGNORET-LEDIEU (FRENCH 1858-1904)modelled as a putto climbing a ladder, holding a watering can to the interior of the vase, signed and numbered 9933 along base; overall height: 22 cm (8 5/8 in.)CONDITION The sculpture appears in age-appropriate condition. Some patina has occurred on the left leg of the child, some browning has occurred in the fine crevasses of the sculpture. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ANONYMOUS (20TH CENTURY)Bust of a Turbaned Man , bronze with gilt overall height: 23 cm ( 9 in.) CONDITION The sculpture appears in very good original condition. Minor patina around the man's ears. Minor surface dust visible to the naked eye. Light surface scuffs visible to the gilt hat.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

NOMI FARAN (ISRAELI B. 20TH CENTURY) Coffee Table , bronze and glass dimensions of sculpture: 46 x 70 cm (18 1/8 x 27 1/2 in.); glass table top dimensions: 48 (h) x 69 (d) x 108 (l) cm (18 7/8 x 27 1/8 x 42 1/2 in.) signed and edition 1/9 front right near base PROVENANCE Lawrence, NY Estate Clark Auction, 10 July 2016, lot 94 Acquired at the above by current owner CONDITION The table appears in good original condition, no apparent issues visible to the naked eye. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ARMAN (FRENCH-AMERICAN 1928-2005) Violin Bust bronze with medium and dark brown patina overall height: 37 cm (14 5/8 in.) signed, inscribed with Boquel foundry mark and edition 4/99 on base CONDITION The sculpture appears in very good orignial condition, overall surface dust visible to the naked eye. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ARMAN (FRENCH-AMERICAN 1928-2005) Music Within bronze with medium and dark brown patina overall height: 41 cm (16 1/8 in.) signed, inscribed with Boquel foundry mark and edition 10/99 on base CONDITION The sculpture appears in very good orginial condition. Overall minor dust is visible to the naked eye. Otherwise no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

MIKHAIL CHEMIAKIN (RUSSIAN B. 1943) Still Life with Vessels, Bread and Vegetables on Drapery, circa 1980 bronze with brown patina 48 x 63 cm (18 7/8 x 24 3/4 in.) CONDITION The sculpture appears in good original condition. Two very fine surface scratches visible by the centered jug.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.