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A Michaelangelo style bronze Creation of Adam sculpture, 59cms h x 79cms w

Consisting of a Chinese bronze sculpture, censer and candlestick, 16 cm. tall

An antique 19th Century Italian Grand Tour black slate and bronze sculpture in the form of the The Temple Of Diana located in the Villa Borghese. Domed top with acorn finial, classical scenes having central figure of Diana the Huntress surrounded by Corinthian columns raised on stepped circular base. A great display piece. Measures approx: 39cm tall. 

JENNINE PARKER (BRITISH CONTEMPORARY) 'ELEVATION' a limited edition bronze sculpture of a dancer 33/195, impressed initials, with certificate and box, approximate height 48cm (Condition:- patches of patination fault to larger ring) (ARR)

DOUG HYDE (BRITISH 1972) 'BOX OF LOVE' a limited edition box set comprising a 13cm bronze sculpture, four limited edition prints and hardback book, edition number 478/495, with certificate and box (Condition:- good condition - prints and book still in original shrinkwrap) (ARR)

JENNINE PARKER (BRITISH CONTEMPORARY) 'INTERTWINED II' a limited edition bronze sculpture of male and female figures 27/95, impressed initials, with certificate and box, height approximately 133cm including granite plinth (Condition:- small rub to the patination of female body) (ARR)

Wand-Plakette mit Jan-Wellem-Reiterdenkmal, Deutschland, 20. Jh. Bronze/ Messing, gegossen, oben links Stadtwappen von Düsseldorf. 13 x 10 cm Bronce plaque: equestrian sculpture of Jan Wellem in Düsseldorf. Coat of arms of town of Düsseldorf. Germany, 20th ct., 13 x 10 cm

A modern bronze sculpture of a stag on marble base signed Milo, together with a bronze figure of a lady, bronze sculpture of a hound and a similar composite (4)

BILDHAUER DES 19.JH. "Klassizistische Bronzefigur einer Vestalin" Wohl Frankreich, 19.Jh., Bronzeguss mit dunkler Patina, mit rechtem Stand- und linkem Spielbein auf flachem Sockel stehend, der Umhang an der Brust zusammengebunden, über das gescheitelte Wellenhaar ein Kopftuch, das über die Schultern herabzieht, in der Linken hält sie eine Kanne, die Rechte erhoben, ein Amulett tragend, Standhaltung und Gesichtsausdruck orientieren sich an der griechischen Bildhauerkunst der Hochklassik, H: 27 cm. (mit Sockel) Leichte Altersspuren. 19TH CENTURY SCULPTOR "Classicist bronze figure of a vestal virgin". Probably France, 19th century, cast bronze with dark patina, standing on a flat base with right standing leg and left playing leg, the cloak tied at the breast, over the parted wavy hair a headscarf which pulls down over the shoulders, in her left hand she holds a jug, the right raised, carrying an amulet, standing posture and facial expression are oriented towards the Greek sculpture of the High Classical period, h: 27 cm. (with base) Slight signs of age.

SKULPTUR EINES FAUNS Nach Vorlagen der Antike, wohl Italien, 19. Jh., Bronze grün patiniert, Flöte spielender, tanzender Faun auf profiliertem Rundsockel, H 24 cm. Altersspuren, Flöte besch. SCULPTURE OF A FAUN Based on antique models, probably Italy, 19th century, green patinated bronze, a dancing faun playing a flute on a profiled round base, h 24 cm. Signs of age, flute dam.

TANZENDER FAUN Wohl Italien, 20.Jh., Metallguss (Galvanoplastik) patiniert, Skulptur eines Fauns in tänzerischer Bewegung nach dem berühmten Vorbild aus der Casa del Fauno in Pompeji, die originale Bronzeskulptur, die im 1. Jh. v. Christus geschaffen wurde, wurde beim Ausbruch des Vesuvs 79 n. Chr. verschüttet und 1830-32 ausgegraben. Sie ist im Nationalmuseum Neapel zu besichtigen, H: 66 cm. Normale Altersspuren. DANCING FAUN Probably Italy, 20th c., sculpture of a faun in dancing movement after the famous model from the Casa del Fauno in Pompeii, the original bronze sculpture, created in the 1st c. BC, was buried during the eruption of Vesuvius in 79 AD and excavated in 1830-32, It can be seen in the National Museum Naples, H: 66 cm. Normal signs of age.

DILYS JACKSON bronze sculpture Votive Offering Bronze & Geode H-15cm, W-10cm, H-10cm

Yves Lohe (French b1947) Glass and bronze sculpture 'Grande Saxophonie' on a circular plinth, signed H37cm - Condition Report

Roman Bronze Statuette. Circa 1st - 2nd century AD. Bronze, 78.18 grams. Size: 68.14 mm. A rare statuette depicting Zeus in the form of an eagle grasping Ganymede. The statue represents a Greek legend that was adopted by the Romans: A rare UK find from Essex.GANYMEDES (Ganymede) was a handsome Trojan prince who was carried off to heaven by Zeus in the shape of an eagle where he was appointed as cup-bearer of the gods. Ganymedes was also placed amongst the stars as the constellation Aquarius, his ambrosial mixing cup as Crater, and the eagle as Aquila. Ganymedes was often portrayed as the god of homosexual love and as such appears as a playmate of the love-gods Eros (Love) and Hymenaios (Marital Love).Ganymedes was depicted in Greek vase painting as a handsome youth. In some scenes of his abduction he holds a rooster (a lover's gift), hoop (a boy's toy), or lyre. When portrayed as the cup-bearer of the gods he pours nectar from a jug. In sculpture and mosaic art Ganymedes usually appears with shepherd's crock and a Phrygian cap.The boy's name was derived from the Greek words ganumai "gladdening" and mêdon or medeôn, "prince" or "genitals." The name may have been formed to contain a deliberate double-meaning.

Duck, bronze, originally conceived in marble in 1914 and cast in bronze in 1964-68 in an edition of 12, and one further cast in lead on behalf of H.S. (Jim) Ede 12 cm longFootnote: Provenance: The Peter Simpson Collection, probably acquired directly from Jim Ede Literature: A. Hammacher, Modern English Sculpture, London, 1967, p. 54, another cast illustrated. R. Cork, Vorticism and Abstract Art in the First Machine Age, Volume II, Synthesis and Decline, London, 1976, pp. 433-34, marble illustrated. R. Cole, Burning to Speak, The Life and Art of Henri Gaudier-Brzeska, Oxford, 1978, p. 108, pl. 55, another cast illustrated. R. Cole, Gaudier Brzeska Artist and Myth, Bristol, 1995, pl. 32, another cast illustrated. E. Silber, Gaudier-Brzeska: Life and Art, London, 1996, p. 272, no. 90, pl. 132, marble illustrated. Born in 1891 in Saint Jean-de-Braye, France, Henri Gaudier-Brzeska’s life was tragically brief, dying in the trenches in 1915, aged only 23. However, as a founding member of the London Group, a leading proponent of Vorticism and abstract sculpture, and as, perhaps, the most instrumental figure in exporting Modern Art to the United Kingdom, Gaudier-Brzeska’s life cannot be defined only by its appalling brevity, but also by his outstanding legacy and contributions to art in the 20th century. In 1912, two years after his move to London, a seismic shift took place in Gaudier-Brzeska’s life when he met one of his greatest influences, Jacob Epstein. After meeting Epstein, Gaudier-Brezeska’s work became increasingly influenced by non-Western art and artefacts, specifically those of Pacific Island, West African, Indian, and Assyrian cultures, and away from the dominating influence of Greek sculpture. Cast between 1964 and 1968 from an original model carved directly from marble in 1914, the present lot was one of a number of ‘pocket sculptures’ carved by Gaudier-Brzeska very shortly before he enlisted in the French Army. Composed from simple geometric forms abstracted from both the natural and mechanical world, the head for example resembles a hammer and the tail an arrowhead. Duck is reflective not only of Gaudier-Brzeska’s artistic concerns and influences, but also of the wider social context of life in an increasingly industrial world.

signed and numbered 'Frink 2/7' (lower left) bronze with a gold brown patina, conceived in 1967 21.5 x 26cmFootnote: Provenance: Private collection, London Literature: B. Robertson, Elisabeth Frink Sculpture: Catalogue Raisonné, Salisbury, 1984, pp. 170-171, no. 158, as 'Bronze plaque (maquette for Man and Eagle Relief)', another cast illustrated. A. Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Farnham, 2013, p. 106, no. FCR183, as 'Bronze plaque (maquette for Man and Eagle Relief)', another cast illustrated

cast 1984, the two-piece bronze with green and burnished bronze patina, signed Dali and numbered 230/350 to base, foundry stamp Jemelton 1984, with certificate of authenticity 70.5cm highFootnote: Literature: Dalí: The Hard and the Soft, Sculptures & Objects. Eccart, 2004. pg. 240 ref. 620; Dali in the Third Dimension: The Stratton Foundation Collection Terpsichore is the mythological muse of dance. Her name comes from the Greek "delight in dance". Dali conceived the idea for this sculpture in 1977 and it was first cast using the lost wax process in 1984. The lost wax process involves creating a wax model of the sculpture which is then encased in a fireproof mould, heated until the wax melts and then poured out ("lost"). The mould is then refilled with bronze or metal for the final casting. Salvador Dali is one of the best known of all the surrealist artists, known particularly for his paintings. However, he created a considerable number of sculptures which can be viewed at the Dali Universe at County Hall in Westminster, including a cast of Homage to Terpsichore. In Dali's creation, he sees Terpsichore as a dual or reflected image; one soft and classical in contrast to the other hardened and statuesque. There are no features in their faces as the significance to Dali was in their figures. The dancer of smooth soft lines representing grace and the unconscious, with the other "half" of Terpsichore angular and cubist in feel, representing the chaotic rhythms of modern life. The poet and critic André Breton explained in The Surrealist Manifesto of 1924, that surrealism was a means of reuniting the conscious and unconscious so the world of dream and fantasy would be joined to the everyday rational world. Thus Dali, with his sculpture of Terpsichore, reflects the very essence of surrealism.Condition report: In good overall condition, however, the 'branch' to the rear of the gilt figure has broken/become detatched. (see images). Each base measures 23 x 22cm, the green figure measures 63.5cm high from floor to finger-tip, the gilt figure measures 71cm from floor to finger-tip. Overall weight is app.13kg.

signed and dated 'Paul Day 1997' to the left-hand side, terracotta 34.5 x 40 x 16cmFootnote: Chiefly working in terracotta, resin and bronze, British sculptor, Paul Day, has established a peculiarly singular aesthetic dialect in contemporary sculpture. With an unusual and, at times, unsettling approach to perspective, scale, and composition, Day’s highly stylised works defy any traditional means of categorisation. Noted for his keen observation of architectural and human forms, Day has received commissions throughout Europe, Canada, and the United States, with The Meeting Place at St Pancras, London, The Battle of Britain Monument at Victoria Embankment, London, and The Iraq & Afghanistan Memorial at the Victoria Embankment Gardens, London, being among his best-known works.Condition report: A repaired diagonal break across the top left corner, otherwise good.

LOPEZ, MIGUEL FERNANDO (auch Milo, geb. 1955 in Lissabon), Skulptur / sculpture: "Frauenkopf", Bronze, hellbraun patiniert auf Marmorpostament, vertieft signiert "Milo", gearbeitet in Anlehnung an die Skulptur "Tête de jeune fille à la frange" von Amedeo Modigliani (Livorno1884-1920 Paris). H. 36 cm.

nach BUGATTI, REMBRANDT ANNIBALE (Mailand 1884-1916 Paris), Skulptur / sculpture: "Chat à l'écuelle" (Originaltitel) "Katze mit Schüssel", Bronze, dunkelbraun patiniert mit goldfarbenen Akzentuierungen. Neuzeitlicher, posthumer Guss der Skulptur von 1906. Auf rechteckigem Postament eine in leichter Stilisierung mit bewegter Oberfläche gearbeitete Katze, aus einer Schüssel fressend. H. 20 x L. 34,5 x B. 17 cm.

nach MIKLOS, GUSTAVE (auch Gusztáv Miklós, Budapest / Ungarn 1888-1967 Oyonnax / Frankreich), Skulptur / sculpture: "Tête de Femme" / "Kopf einer Frau", um 1932. Bronze, dunkelbraun patiniert mit hellbraunen Akzentuierungen, revers signiert "G. Miklos" und bezeichnet / limitiert 3/4, revers u. l. charakteristische Karreeform des Gießerstempels der französichen Bronzegießerei Adrien-Aurélien Hébard (Paris 1865-1937) jedoch ganz ohne die übliche Bezeichnung "Cire Perdue A. A. Hébard". Der aus Ungarn stammende Bildhauer, Maler und Illustrator des Kubismus und Art déco Gustave Miklos zählte zur Pariser Avantgarde. Die 1902 gegründete Gießerei, die nach dem Tode Hébards 1937 erlischt, ist für ihre minutiös gearbeiteten Güsse und die Qualität ihrer Patina bekannt; u. a. wegen des unklaren Gießerstempels hier posthumer Guss. Die Gießerei fertigte meist geringe Auflagen von maximal 20 Exemplaren. H. 16 cm. Aus dem Nachlass eines privaten Sammlers mit den Schwerpunkten Art déco und Keramik des 20. Jh. H. 16,5 cm.

RIZEC, EMIL (Bildhauer des 19./20. Jh.), Skulptur / sculpture: "Weiblicher Akt mit Mantel / Allegorie des Winters", Alabaster, Bronze und Marmor, 1. Viertel 20. Jh., signiert "Rizec" und mit Gießerstempel "Schumacher" bezeichnet: Schumacher & Co. - Werkstätten für Kunst und Kunstgewerbe, Osterode/Harz. In leicht aufstrebender Pose stehender weiblicher Akt mit Mütze, die rechte Hand an den zur Seite gewandten Kopf geführt, das linke Handgelenk in die Taille gestützt. Über der linken Schulter und den Arm drapiert ein langes Gewand mit reichem Faltenwurf. Die runde Plinthe und der Mantel aus Bronze mit goldfarbener Patina mit hellbraunen und grünen Akzentuierungen, der runde Stand aus grünlichem Marmor gefertigt. (Marmorstand bestoßen) H. ca. 37 cm.

Carosa Disseny sculpture bronze effect lady on rock

A French bronze patinated spelter sculpture of a fawn, circa 1950s, unsigned, on a 2-colour marble navette-shaped base, height 20cm, length 24cm Very good condition

GUISEPPE VASARI - parcel gilt and silvered bronze sculpture of D'Artagnan on horseback, signed, on green onyx base, height 20cmSword is slightly bent, otherwise in good condition, patina is slightly rubbed on the high points

A patinated bronze sculpture of a young boy smoking a cigarette, early 20th century, signed on the base G Reno?, height 21cmVery good condition

Jules Moigniez (1835 - 1894), patinated bronze sculpture, Gundog and pheasant, signed on base, base length 52cm, height 41cmVery good condition, with original patina, no damage or restoration

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

FRANZ BERGMAN - Austrian patinated bronze sculpture, nude figure kneeling on a book, unsigned, length 12cmGood condition, patina is slightly rubbed on the high areas, no dents or repairs, other recorded versions of this sculpture have an impressed mark on the end of the book but this is unmarked

Afrikanische Figur "stehender Afrikaner" Skulptur - Bronze, H: 14 cm African figure "standing African" sculpture - bronze, height: 14 cm

Elefant Bronze "Elefant" Skulptur-Bronze, 11 cm x 20 cm, naturalistische Plastik eines Elefanten, unterm Bauch signiert Elefant Bronze "Elephant" sculpture bronze, 11 cm x 20 cm, naturalistic sculpture of an elephant, signed under the belly

Figur China Qing Dynastie "Reiter zu Pferde auf einer Brücke" Skulptur - Bronze, 6 cm x 11 cm x 3,5 cm Figure China Qing dynasty "Rider on horseback on a bridge" sculpture - bronze, 6 cm x 11 cm x 3.5 cm

Anonymer Künstler um 19. / 20. Jhd. "Kniende mit Schildkröte" Skulptur- Bronze, 11,5 cm x 13,5 cm x 6,5 cm, mit Marmorsockel 15,5 cm x 17,5 cm x 10,5 cm Anonymous artist around 19th / 20th century "Kneeling woman with Turtle" sculpture - bronze, 11.5 cm x 13.5 cm x 6.5 cm, with marble base 15.5 cm x 17.5 cm x 10.5 cm

Anonymer Künstler des 20. Jhd. "weiblicher Torso" Skulptur - Bronze, H: 34,5 cm, mit Sockel 35,5 cm Anonymous artist of the 20th century "female torso" sculpture - bronze, height: 34.5 cm, with base 35.5 cm

Wiener Bronze um 1900 "Wellensittich" Skulptur - Bronze farbig gefasst, 3,5 cm x 7 cm Vienna bronze around 1900 "Budgie" sculpture - colored bronze, 3.5 cm x 7 cm

Wiener Bronze um 1900 "Hirsch" Skulptur - Bronze farbig gefasst, 8 cm x 8 cm x 3 cm Vienna bronze around 1900 "Deer" sculpture - colored bronze, 8 cm x 8 cm x 3 cm

Wiener Bronze um 1900 "Eidechse" Skulptur - Bronze farbig gefasst, 2,5 cm x 10 cm x 4 cm Vienna bronze around 1900 "Lizard" sculpture - colored bronze, 2.5 cm x 10 cm x 4 cm

Wiener Bronze um 1900 "Schnauzer" Skulptur - Bronze farbig gefasst, 5 cm x 6 cm x 2 cm Vienna bronze around 1900 "Schnauzer" sculpture - bronze colored, 5 cm x 6 cm x 2 cm

Wiener Bronze um 1900 "Dackel" Skulptur- Bronze, 4,5 cm x 15 cm x 4,5 cm Vienna bronze around 1900 "Dachshund" sculpture - bronze, 4.5 cm x 15 cm x 4.5 cm

Wiener Bronze um 1900 "Hirsch" Skulptur - Bronze teils farbig gefasst, 20 cm x 23 cm x 7 cm Vienna bronze around 1900 "Deer" sculpture - bronze partly colored, 20 cm x 23 cm x 7 cm

Franz IFFLAND (1862-1935) "Tänzerin" Skulptur - Bronze auf Marmorsockel, Gesamthöhe 38 cm, auf der Plinthe signiert Iffland Franz IFFLAND (1862-1935) "Dancer" sculpture - bronze on marble base, total height 38 cm, signed Iffland on the plinth

Anonymer Künstler des 20. Jhd."Hemdausziehende" (1960) Skulptur- Bronze, H: 42 cm, unterm Stand Guss Schmäke Düsseldorf Anonymous artist of the 20th century"Shirt removal person" (1960) sculpture - bronze, height: 42 cm, under the bottom cast Schmäke Düsseldorf

Monogrammist E.O. 20. Jhd. "Pinguin" Skulptur - Bronze, H: 9,8 cm, unten am Stand monogrammiert E.O. Monogrammist E.O. 20th century "Penguin" sculpture - bronze, height: 9.8 cm, monogrammed with E.O. at the bottom of the stand

Anonymer Künstler des 20. Jhd. "Stier" Skulptur - Bronze, 11 cm x 11 cm x 6 cm, unsigniert Anonymous artist of the 20th century "Bull" sculpture - bronze, 11 cm x 11 cm x 6 cm, unsigned

Anonymer Künstler des 19. / 20. Jhd. "steigender Hengst" Skulptur - Bronze, 9,5 cm x 11 cm x 6,5 cm, unsigniert Anonymous artist of the 19th / 20th century "increasing stallion" sculpture - bronze, 9.5 cm x 11 cm x 6.5 cm, unsigned

Walter BOSSE (1904-1979) "Kuh" Skulptur - Bronze, 4,3 cm x 5,5 cm x 1,5 cm, unsigniert Walter BOSSE (1904-1979) "Cow" sculpture - bronze, 4.3 cm x 5.5 cm x 1.5 cm, unsigned

Anonymer Künstler des 18. / 19. Jhd. "Mephisto - die Versuchung" Skulptur - Bronze, H: 12 cm, unsigniert, erotische Darstellung des Mephisto Anonymous artist of the 18th / 19th century "Mephisto - the temptation" sculpture - bronze, height: 12 cm, unsigned, erotic representation of Mephisto

Walter BOSSE (1904-1979) ? "Eule" Skulptur - Bronze, H: 4,5 cm, unsigniert Walter BOSSE (1904-1979) ? "Owl" sculpture - bronze, height: 4.5 cm, unsigned

Anonymer Künstler 19. / 20. Jhd. "Tänzerin" Skulptur - Bronze, Gesamthöhe 29 cm Anonymous artist 19th / 20th century "female dancer" sculpture - bronze, total height 29 cm

Monogrammist M.K.K. 20. Jhd. "Ikarus" Skulptur- Bronze und Keramik, 13,5 cm x 24,5 cm x 35 cm, unterm Boden monogrammiert Monogrammist M.K.K. 20th century "Icarus" sculpture- bronze and ceramic, 13.5 cm x 24.5 cm x 35 cm, monogrammed under the bottom

Fritz CREMER (1906-1993) "Badende" (um 1950) Skulptur- Bronze, H: 48 cm, auf der Plinthe monogrammiert, seltene gold-braune Patina, Provenienz: Privatsammlung Berlin Fritz CREMER (1906-1993) "Badende" (around 1950) sculpture - bronze, height: 48 cm, monogrammed on the plinth, rare golden-brown patina, provenance: private collection Berlin

KANNON BOSATSU FROM AN AMIDA RAIGÔ TRIAD. Japan. Edo period. 18th c. Wood, carved, gilt lacquer. Crown from gilt bronze. In the representation of the Buddha Amida raigô sanzon, Kannon is characteristically shown with a lotus pedestal for the reception of the believer's soul, which is accompanied to the paradise of the west. Here knees bent and hands stretched forward. H. without base 37cm. Condition A/B. Provenance: Private collection Southern Germany. Charity Auction for the benefit of Mukoviszidose e.V. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Japan / Korea Applied Arts 18th century Buddhist art Sculpture Japan

NETSUKE AND TWO OJIME. Japan. 19th c. a) Dancing man. Ivory. Flat form carving. H.5cm. Bez.: Tomochika. b) Ojime in shape of a metal bar with takaramono resp. in the form of Fukurokuju (denoted: Tenmin). H. each 1.7cm. Bronze, copper, silver and gold plated. Acquired from Dmitry Levit Asian Art, 2014. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan

1st-3rd century AD. A hollow-formed life-size bronze right foot and ankle from a statue of a god, goddess, hero, boy or an athlete; fine detailing to the foot and toes; ancient rectangular repair panel to the upper face; mounted on a custom-made stand. See Reinach, S., 'Hermaphrodite: Statuette de bronze de la collection du Mis de Luppé' in Revue archéologique Volume 32, 1898, pp.321-336; Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 218, for similar fragment; Deiss, J.J., Herculaneum: Italy's Buried Treasure, New York, 1985; Various, Small bronze sculpture from the Ancient World, Malibu, 1990; Blix, G., From Paris to Pompeii: French Romanticism and the Cultural Politics of Archaeology, University of Pennsylvania Press, 2009; Kleiner, F.S., A history of Roman art, Wadsworth, 2010; Cooley, A.E., Cooley, M.G.L., Pompeii and Herculaneum, New York, 2014.2.3 kg, 29cm including stand (11 1/2"). Property of a London gentleman; acquired on the London art market in the 2000s; accompanied by an expertise by Dr Raffaele D’Amato; this lot has been checked against the Interpol database of stolen works of art and is accompanied by AIAD certificate number no. 10296-168464. The thin proportions of the calf could suggest that the statue was that of a boy, a young god or goddess. One of the possible candidates could be Eros, the god of love, based on the Eros de Pavlovsk showing a similar foot position. The position of the foot offered here resembles the statue of goddess Roma in the Getty Museum (inv. 84.AB.671"). Studies on the Getty statue have shown a wax sheet that was applied to the underside of the already cast parts and around the bronze nub that formed the upper part of the proper leg, sealing the opening into the figure. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition, some restoration. 

Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity'; donors to the legs of the podium. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages. 355 grams, 14.1cm (5 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10447-169027. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition.

Northern Wei, early 5th century AD. A gilt-bronze buddha figure kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra; the figure's composition originates in the Gandharan style and displays Central Asian features. 406 grams, 13cm (5"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163205-10082. Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition.

Eastern Wei, early 5th century AD. A bronze figure, likely in the style of the Gandharan or Uddiyana regions, of Shakyamuni Buddha in loose robes seated on a throne flanked by elephants. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB003, p.58 & 159; accompanied by copies of the relevant exhibition catalogue pages. 101 grams, 80mm (3"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fair condition; ritually rubbed by generations of devotees.

2nd-3rd century AD. An outstanding statue of Buddha, seated in a padm?sana or lotus position on a low throne, covered by a pillow and drapery, supported by two lions on each side, central relief representing an embroidery on the cloth decorated with two preaching bodhisattvas and their disciples, the first bodhisattva in the same position as Buddha and the other one with raised right hand in Abhaya mudra, a gesture of fearlessness; the statue reinforced on the back by a later added squared plinth; mounted on a custom-made display stand. See Ingholt, H., Gandharan Art in Pakistan, New York, 1957; Liu, X., Ancient India and Ancient China: Trade and Religious Exchange, AD 1–600, Oxford University Press, 1994; Taddei, M. ‘Afghanistan, Sculpture’ in Dictionary of Art, New York, 1996; Zwalf, W., A Catalogue of the Gandhara Sculpture in the British Museum, 2 vols., London: British Museum Press, 1996; Behrendt, K.A., The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007; Brancaccio, P., The Buddhist Caves at Auraganbad: transformation in Art and Religion, Leiden-Boston, 2011.1.6 kg total, 22cm including stand (8 1/2"). Ex property of a London lady; formerly in the David Lindhal collection since 1969; accompanied by an archaeological expertise by Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10408-169982. Gandharan control of the high mountain passes was vital to the international commerce of the sea routes cross the Arabian Sea, which supplied an expanding overland trade through Gandhara and continued on to Central Asia and China. This made the region wealthy and the resulting cosmopolitan elites of Gandhara became some of the most powerful Buddhist patrons in all of South Asia. Buddhism probably reached Gandhara as early as the 3rd century BC; sculptures representing Buddha began to be present from the 1st or 2nd century AD. The hairstyle of our bronze, the form of his robes, and the treatment of the drapes, reflect stylistic contacts with the classical traditions of the West. The sensitive modelling of the head and face has an expressive quality not seen in the more formal images in stone from this period. The depictions of the Buddha seated on a platform over which a plain cloth is draped. The way in which the drapery folds, suggest that this is a cloth of medium weight, but in our example, the Buddha is seated on a low, backless throne and the textile over the throne is thick and elaborately decorated. The decoration occurs in vertical panels, of which the centre panel is almost a square and shows the embroidery with the two bodhisattvas, the enlightened beings who have put off entering paradise in order to help others attain enlightenment. The figure of the central Buddha flanked by the bodhisattvas is well visible in the Gandhara art, and a similar example to our small sculpture is the beautiful image of the Aurangabad cave no.5, interior shrine, where the main Buddha in padm?sana is flanked by bodhisattvas. Very fine condition.

Aimé-Jules Dalou, (French, 1838-1902): A bronze figure of 'Baigneuse Avant Le Bain (Bather before the bath)'posthumously cast by the Susse Frères foundryon naturalistic canted rectangular base, signed DALOU Scp and inscribed with foundry mark Susse Frères, Paris, Cire Perdue, brown patination, 14.5cm high approximatelyFootnotes:Recognised today as one of the premier sculptors of 19th century France, Aimé-Jules Dalou was admired for his perceptiveness, free execution, and unpretentious realism and was in his day revered in exactly the same manner as his friend and contemporary Rodin would subsequently be to later generations.Dalou's talent was initially recognised by the French sculptor Jean Baptiste Carpeaux who persuaded his parents to allow him to study sculpture at the Petite Ecole and the Ecole des Beaux Arts. Although the sculptor exhibited at the Paris Salon as early as 1861 he was refused the prestigious Prix de Rome which would have done much to further his career due to his political leanings and his opposition to the government during the Second Empire period. However, his sculpture of 'Daphinis and Chloe' was subsequently purchased by the State after it was shown at the Salon in 1869 and he also won worldwide acclaim with his life-size plaster figure of the 'Embroiderer' at the Salon in 1870 both of which exemplify his interest in the female form.As a result of being a supporter of the Paris Commune whilst curator of the Musee du Louvre under Gustave Courbet, he was forced into a period of self-imposed exile from France in 1871 and made his home in London where he was convicted in his absence by the French Government for his involvement with the Commune and given a life sentence although he was eventually pardoned eight years later.Like his contemporary Edgar Degas, Dalou was fascinated with the subject of the female nude and its commercial potential. As such he used his time in London to work and re-work a series of small models depicting idealised female figure in stages of undress before and after bathing. These figures retain a sensitive personal connection between the sculptor and the sitter usually with specific personalised facial features which is perhaps not surprising considering that his favourite model was also his wife, Irma Vuillier.The bather in the present lot is depicted preparing to enter the water, apparently slightly shuddering as she looks down into the stream below. This model also has an added poignancy as the plaster original which was executed by Dalou in 1899 depicts his wife a year before her death. The shock of her tragic loss was also an undoubted contributing factor to the sculptor's own demise eighteen months later.The original model was purchased from Dalou's daughter Georgette in 1905 and is now in the permanent collection of the Musée du Petit-Palais. A marble version is also thought to have been commissioned in 1899 but its whereabouts are now unknown.No commercial bronze editions of his works were apparently produced during Dalou's lifetime as these were discouraged by the sculptor. As such edition casts were not produced until the period post the sculptors death in 1902, when the executors of the sculptor allowed a number of Dalou's works to be cast in limited editions by the A. A. Hébrard foundry. Later, models were made in larger numbers and in a variety of edition sizes by the Susse Frères foundry.Related Literature:A. Simier, Jules Dalou. Le sculpteur de la République, exh. cat., Petit Palais - Musées des Beaux-Arts de la Ville de Paris, Paris, 2013, pp. 388-389, no. 315J. Hunisak, The sculptor Jules Dalou: studies in his style and imagery, New York, 1977, pp. 119-120, fig. 69For further information on this lot please visit Bonhams.com

A French late 19th century gilt bronze mounted mahogany and parquetry bureau platafter the model by Jean-Henri RiesenerWith lozenge inlay comprised of triple stringing, the leather inset top mounted with a lotus-leaf cast edge, above three frieze drawers, the central catch-activated and spring loaded long panelled drawer inset with a relief plaque depicting music-making putti, with a conforming opposing arrangement, each end mounted with a relief plaque of a putto allegorical of the fine arts, one plaque depicting drawing and painting, the other sculpture and architecture, 115cm wide x 66cm deep x 76cm high, (45in wide x 25 1/2in deep x 29 1/2in high)Footnotes:An identical model to the offered lot, albeit a slightly larger example, sold Christie's, London, 1 November 2001, 19th Century Furniture and Sculpture, lot 218. Also another similar bureau plat, although one with a parquetry inlaid top, sold Christie's, London, 2 November 2016, Noble and Private Collections Part I, lot 25.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com