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A reproduction bronze sculpture of a horse and jockey jumping a fence, on marble plinth, H31.5cm

Patinated bronze sculpture depicting the male ballet dancer Rudolf Nureyev pulling his shirt while looking down with open-mouthed expression. After Richard MacDonald. Signed Fisher. Dimensions: 10.5"L x 6"W x 14"HCondition: Age related wear.

Beautifully detailed sculpture of man seemingly in flight. The look of bronze gives it a metal feel. Can be mounted on wall. Artist signed and dated. Artist: Larry SchesselIssued: 2005Dimensions: 8"L x 15"W x 8"HCountry of Origin: United StatesCondition: Age related wear. Two fingers missing.

Bronze and dark brown sculpture of a man climbing. Parts of his body are absorbed within the background. Artist Signed. Issued: 2005Dimensions: 20"H x 7.25"W x 6"DCondition: Age related wear. Pinky finger missing.

Bronze sculpture on marble base of a standing man wearing a swimsuit bottom. Artist signed. The plaque reads: Turadij M.A.C. Evezos Osztaly 1934. Evezos osztaly translates to rowing class. Weight: 26 pounds. Dimensions: 9.75"L x 6.75"W x 21"HCondition: Age related wear.

Bronze sculpture of a shirtless man in the process of metalsmith work. Weight: 3 pounds. Dimensions: 3.75"L x 2.75"W x 6.5"HCondition: Age related wear.

Bronze sculpture of a nude man standing holding a cape. On a light green marble base. Weight: 9 pounds. Dimensions: 4.75"L x 4.75"W x 14.5"HCondition: Age related wear.

Bronze sculpture of a young nude man sitting with one leg bent resting on the other as he examines his left foot. On a green marble base. Weight: 3.5 pounds. Dimensions: 5.25"L x 4"W x 8"HCondition: Age related wear.

Bronze sculpture of an angelic man with wings standing on one leg holding a bow in his left hand. On a black and white marble base. Weight: 10.5 pounds. Signed A. Canova. Dimensions: 9.5"L x 5.25"W x 20"HCondition: Age related wear.

Bronze sculpture of a man standing with his right arm raised, hand clenched in a fist, on green marble base. Weight: 19 pounds. Dimensions: 7"L x 6.5"W x 21.75"HCondition: Age related wear.

Bronze sculpture of a man standing with his arms bent behind his head on a green marble base. Adonis was a figure from Greek mythology known for his beauty. In the story, the statue of Adonis represents vanity and the desire for eternal youth and beauty. Weight: 6 pounds. Dimensions: 5"L x 4"W x 13"HCondition: Age related wear.

A bronze Belfast Telegraph Sports Awards 1995 sculpture. Sir Ewart Bell. W.J “Paddy” Patterson Award. 21x25cm

Max Ernst, JanusBronze. Höhe 43,7 cm. Auf der oberen Plinthe signiert und nummeriert 'max ernst 18/18' sowie mit dem Gießerstempel "A. VALSUANI CIRE PERDUE". Exemplar 18/18. Die Bronze entstand in unterschiedlich patinierten Auflagen von jeweils 20 Exemplaren (nummeriert 00/18 und 0/18 - 18/18), 8 épreuves d'artiste und einigen épreuves d'essai. - Mit lebendiger, goldbrauner Patina.Nicht mehr bei Spies/MetkenProvenienzSammlung Dr. Peter Schneppenheim, KölnAusstellungenVgl. u.a. Newport Beach/Berkeley/Indianapolis 1992/1993 (Newport Harbor Art Museum/University Art Museum, University of California/Indianapolis Museum of Art), Max Ernst, The Sculpture, Nr. 57, mit Abb. S. 44; Malmö 1995/1996 (Konsthall), Max Ernst, Skulptur, mit Abb. S. 184, 185; Turin 1996 (Museo d'Arte Contemporanea, Castello di Rivoli), Max Ernst sculture/sculptures, S. 192, mit Abb. S. 186; São Paulo 1997 (Museo Brasileiro da Escultura Marilisa Rathsam), Max Ernst, Esculturas, obras sobre papel, obras gráficas, Nr. 53, S. 38, Abb. S. 100, 101; Lissabon 1999/2000 (Fundação Arpad Szenes-Vieira da Silva), Max Ernst, esculturas sculptures, S. 87, mit Abb. S. 79; Tokio 2000 (Tokyo Station Gallery), Max Ernst, The Surrealist Universe in Sculpture, Painting and Photography, Nr. S. 60, S. 165, mit Abb. S. 79; Schwäbisch Hall/Salzburg 2009 (Kunsthalle Würth/Museum der Moderne), Albtraum und Befreiung. Max Ernst in der Sammlung Würth, S. 336 f. mit Abb.LiteraturVgl. Edward Quinn, Max Ernst, Barcelona 1977, Abb. S. 18 u. S. 22/23; Susanne Kaufmann, Im Spannungsfeld von Fläche und Raum. Studien zur Wechselwirkung von Malerei und Skulptur im Werk von Max Ernst, Weimar 2003, S. 110, Nr. 104 mit Abb. S. 293; Jürgen Pech (Hg.), Max Ernst. Plastische Werke, Köln 2005, S. 208-211, mit Abb.Die Sammlung Peter SchneppenheimMit sechs Arbeiten von Max Ernst, drei Gemälden, einer Plastik (Lots 32-35) und zwei Arbeiten auf Papier (Lots 211, 212, Auktion 1248, 5. Juni 2024), kommen ausgewählte Werke aus einer der bedeutendsten und umfangreichsten Sammlungen des deutsch-französischen Künstlers – die Sammlung Schneppenheim – zum Aufruf. Initiator dieser Sammlung war der Kölner Arzt Dr. Peter Schneppenheim (1926-2021), der die Werke über Jahrzehnte auf dem nationalen und internationalen Kunstmarkt zusammengetragen hatte. Dem beharrlichen und konstruktiven Engagement des Sammlers ist 2005 auch die Gründung des Max Ernst-Museums in dessen Heimatstadt Brühl zu verdanken. Seine umfänglichen grafischen Bestände, die illustrierten Bücher und ausgewählte Gemälde bildeten den Grundstock des einmaligen Künstlermuseums. Peter Schneppenheim war fast zwei Dekaden leitender Chefarzt im Heilig-Geist-Krankenhaus in Köln-Longerich. Ausgleich und Erfüllung fand er sowohl in der Musik und als auch in der Kunst, namentlich in den Werken des 1891 in Brühl geborenen Malers, Grafikers und Bildhauers Max Ernst, dessen Schaffen ihm in Brühl und in Köln schon häufiger begegnet war. Eines der ersten Werke, das er bewusst wahrgenommen hatte, und bei dessen Betrachtung er sofort schmunzeln musste, war die Collage „C’est le chapeau qui fait l’homme“ von 1920. Das Schlüsselerlebnis zum Erwerb von dessen Werken war aber die erste namhafte, deutsche Retrospektive 1951 im Schloss Augustusburg in Brühl. Schneppenheim war sofort von der Vielfalt der Bildthemen und Techniken fasziniert: „Bei meiner Begeisterung für die ungewöhnlichen, bis dahin nie gesehenen Kunstwerke, wohl auch euphorisch beflügelt nach soeben bestandenem Staatsexamen, kam mir die Idee, nun selbst Bilder dieses Künstlers zu erwerben – beim Salär eines jungen Medizinalassistenten zunächst ein verwegener Wunschtraum, bis es zu ersten Arbeiten auf Papier reichte.“ (zit. nach: Max Ernst. Graphische Welten, Ausst. Kat. Brühl 2004, S. 10). Die anfängliche Begeisterung für Max Ernst ließ bei Schneppenheim nicht nach – ganz im Gegenteil, die zunehmende Beschäftigung mit dessen Lebensstationen und Schaffen, mit dessen innovativen Bildtechniken und literarischem Horizont führte mit der Zeit zu systematischen Ankäufen mit dem Ziel, das grafische Schaffen möglichst lückenlos abzudecken. Der Ankauf von überwiegend grafischen Arbeiten war – zumindest zu Anfang – eine bewusste Entscheidung. Schneppenheim bewies von Beginn an ein bestechend gutes Auge für Qualität und Einzigartigkeit und wählte die zentralen Werke Ernsts auf Papier aus. Im Jahr 1968 entschied er sich erstmals auch für den Kauf eines Ölgemäldes und erwarb die hier zum Aufruf kommende Landschaft „Les antipodes du paysage“ (Lot 34), die ihm der renommierte und auf Max Ernst spezialisierte Galerist Fritz Valentien in Stuttgart vermittelte. Bedeutsam ist dieses Gemälde auch, weil es den Ausgangspunkt für den thematischen Schwerpunkt der Sammlung auf Landschaften bildete. Ein besonderes Ereignis der 1970er Jahre war die persönliche Begegnung Schneppenheims mit Max Ernst und seiner Frau Dorothea Tanning anlässlich einer Rheinfahrt 1971, die das Kölner Galeristenpaar Hein und Eva Stünke für den Künstler und seine Kunden organisiert hatte. Bis zum Tod von Max Ernst am 1. April 1976 konnte die Sammlung mit substanziellen Arbeiten erweitert werden. Ein Höhepunkt für Schneppenheim war die erste öffentliche Ausstellung seiner Sammlung 1990 im Museum Ludwig in Köln. 2001 erwarb die Kreissparkasse Köln die graphischen Bestände der Sammlung, die Teil der „Stiftung Max Ernst“ wurden. Vier Jahre später erfüllte sich mit der Eröffnung des Max Ernst Museums in Brühl für den Sammler ein „lebenslanger Wunschtraum“.___________________________________Janus„Janus“ ist die wohl schönste Bronzeplastik aus dem späten Werk von Max Ernst. Sie entstand 1974 in der Art der Plattenskulpturen, die erstmals von Alberto Giacometti in den 1920er Jahren geschaffen und von Max Ernst weiterentwickelt wurden. Der mit Ernst befreundete Fotograf Edward Quinn hielt bei einen Atelierbesuch den kreativen Entstehungsprozess des „Janus“ in mehreren Fotografien fest (siehe Vgl. Abb.). Ein wichtiges Charakteristikum der plastischen Arbeiten von Max Ernst ist der additive Aufbau aus zusammengefügten Einzelelementen. Entsprechend ihrem Titel "Janus" besitzt die Plastik zwei entgegengesetzte Ansichtsseiten. Die hochrechteckige Platte wird jeweils von unterschiedlichen Köpfen bekrönt. Für die weiteren Gestaltungselemente verwendete der Künstler Spielzeugförmchen in Muschel-, Schildkröten- und Froschgestalt, die er mit Gips ausgoss, dabei jedoch die Beine bzw. Füße der Tierformen entfernte. Solchermaßen stilisiert, sind sie noch als Tiere identifizierbar, nehmen jedoch die Gestalt männlicher Geschlechtsteile an. Die Muschelform bildet auf der einen Seite paarweise angeordnet im oberen Teil der Platte einen Verweis auf weibliche Brüste, auf der anderen Seite nimmt eine Muschel direkt unter dem Kopf die Bedeutung eines Bartes oder üppigen Halsschmucks an. Männliches und Weibliches, Tiergestalt und Menschengestalt, der im surreal-künstlerischen Kontext überhöhte Alltagsfund: Ernst spielt auf faszinierend vielfältige und humorvolle Weise mit den Formen und ihren Interpretationsmöglichkeiten: „Das ursprünglich neutrale Spielzeug wird zur maskulinen Funktion, das konventionelle Verhältnis von Form und Inhalt wird aufgebrochen und voller Witz neu präsentiert.“ (Jürgen Pech, Plastische Werke, op. cit., S. 208).

1st century A.D. Substantial cast cupola with socket to the apex; possibly from a field artillery piece. See Marsden, E.A., Greek and Roman Artillery. Historical Development, Oxford, 1969, for discussion; cf.Russo, F., Tormenta, Venti secoli di Artiglieria Meccanica,, Roma, 2002, p.209, fig.51, for the frontal sculpture of a catapult of 1st century A.D. preserved in the Vaticani Musei, fitted with similar bosses. 110 grams, 67 mm (2 5/8 in.). Reputed to have been excavated near Viables in Hampshire at the end of the 19th century. From the estate of the late Jennifer Simmonds. Acquired from Jacobs & Hunt auctioneers, Petersfield, Hampshire, UK.The circular umbo does not correspond to any known central shield boss, as it also lacks the lower edge; instead, it finds a good correspondence with the circular bosses that reinforced the lower and upper frame of a catapult, equipped with a central bronze cover. [No Reserve]

Early Dynastic II, mid 3rd millennium B.C. A substantial torch bearer depicting a male lion or panther standing with legs firmly planted on a rectangular base, tail extending to the ground, with a massive circular shaped armature or candelabra issuing from its back and wearing an elaborate muzzle, the eyes retaining shell inlay with a circular hollow for the pupils; to the right of the beast a kneeling nude male wearing a large belt-armour and a diadem, eyes inlaid, left hand extended to the side and holding the lion's leash. Cf. a similar vessel stand with ibex support in the Metropolitan Museum, accession number 1974.190; Frankfort, H., More Sculpture from the Diyala Region, OIP 60, Chicago, 1943, pls.33-34, 55-57; 91,95; Carter, M.L., Goldstein, S., Harper, P.O., Kawami, T.S., Meyers, P., Splendours of the Ancient East, Antiquities from the al-Sabah collection, London, 2013, figs.1 and nos.1-2-3-4, for metal figures made in similar style; Prell, S., ‘Buckle up and fasten that belt! Metal belts in the early and Middle Bronze Age’ in Ägypten und Levante/Egypt and the Levant, vol.29 (2019), pp.303-330. 2.15 kg, 21 cm high (8 1/4 in.). Acquired before 1983. Ex London gallery, 1990s. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12043-216337.The object belongs to a series of artefacts which attest the wide regional trade existing in the mid to late 3rd millennium B.C. in the Mesopotamian lands. Stands of this type were intended to hold offering bowls or lamps. [A video of this lot is available to view on Timeline Auctions Website]

λ&nbspSIR JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959) BABY ASLEEP Bronze Stamped with the foundry mark Cire Perdue A.A. Hebrard (on the back of the neck) Height (excluding base): 13cm (5 in.)Conceived in 1902-04.Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by the family of the present owner, 18th February 1987Literature: Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no.3 (illustration of another cast)  

λ&nbspOLIFFE RICHMOND (AUSTRALIAN 1919-1977) SUN Bronze Signed with initials (on the base) Height (including base): 18cm (7 in.) Conceived in 1965 in an edition of six.Provenance: Hamilton Galleries, London The New Art Centre, London Acquired from the above by the family of the present owners, June 1986Exhibited: London, Hamilton Galleries, Recent Sculpture, October 1965, no. 16 Condition Report: There is some white paint residue to the back edge of the base. Some surface dirt and verdigris, especially to the underside. Otherwise, in good original condition.Condition Report Disclaimer

λ &nbspDAVID WYNNE (BRITISH 1926-2014) EGG FIGURE Bronze Signed with monogram and dated 1961 (to back) 11.5 x 11.5cm (4½ x 4½ in.)Conceived in 1961 in an edition of 8.Provenance: Thomas Agnew & Sons Ltd., London Acquired from the above by the family of the present owners, 14th March 1985Literature: T.S.R. Boase (ed.), The Sculpture of David Wynne 1949-1967, London, 1968, p. 155 Condition Report: Apart from some verdigris to the deep crevasses, this work is in good original condition.Condition Report Disclaimer

A French bronze model of the Dying Gaul, After the Antique, late 19th century, Depicted slumped on his shield holding his right leg and with a sword puncture wound to his chest, beside him lays his belt, trumpet and sword with lion-head hilt, on a later oval black marble base, bronze - 17cm high, 33cm wide, 15cm deep; overall - 21cm high, 36cm wide, 17.8cm deep   Footnotes: Note: The Dying Gaul has been referred to as the Dying Galatian and the Dying Gladiator throughout history. A Roman marble sculpture in the Capitoline Museum is itself a copy of a bronze sculpture thought to have been commissioned by Attalus I of Pergamon in 230-220 BC to celebrate his victory over the Galatians. The marble was found in the excavations of Villa Ludovisi, Rome and was first recorded in archives in 1623.

An Italian bronze group of Pan and Apollo, After the Antique, 19th century, The figures shown seated on a plinth, 34cm high, 19cm wide, 13cm deepLiterature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 286-8, fig. 151.Footnotes: Note: The present group, traditionally identified as Pan and Apollo, is a reduction of one of the most celebrated ancient marbles, of which the best known version is in the Museo delle Terme in Rome (Haskell and Penny, loc. cit.). It and another, formerly in the Farnese Collection and now in the Museo Nazionale in Naples, were both recorded as early as the mid-sixteenth century, and inspired numerous amorous adaptations.

A pair of Italian gilt-bronze models of Furietti Centaurs, After the Antique, second half 18th century, The first depicting a bearded figure with arms bound behind his back, the second depicting a youth raised in celebration, on a modern plinth, the front foot of one centaur is broken and detached, 52.5cm and 45.5cm high (2)Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92.Footnotes: Note: The original marble versions of these bronzes were discovered during excavations in 1736 by Monsignor Furietti at Hadrian's Villa. Their decorative qualities offered copyists great possibilities for production in small-scale bronzes. Thus the latter part of the 18th century and the start of the 19th saw them produced in large numbers, both as miniature bronzes and life-size marble and plaster versions.The desirability of the originals was so great that in 1763 Pope Benedict XIV offered Furietti a Cardinal's hat for them, while in 1765 the English offered vast sums before they were finally secured by the Capitoline Museum, Rome, where they are currently housed (Haskell and Penny, loc.cit.).

After François-Joseph Bosio, French, 1768-1845, a French bronze group of Hercules fighting Acheloüs metamorphosed into a snake,  Third quarter 19th century, Hercules is depicted nude fighting the river-god Acheloüs in the form of a snake with his left hand holding the snake while he raises a rock in his right hand above his head ready to strike, on a naturalistic base with his lion pelt draped on the ground, cast initials G. / VPS, 30cm high, 23cm wide, 10.4cm deep  Footnotes: Note: The story appears in Ovid's Metamorphoses (Bk IX:1-88), with Hercules fighting the river-god Acheloüs for the hand of Deianeira, daughter of Oeneus, the King of Calydon. Acheloüs turned into a snake but was defeated by Hercules. This model is after the original sculpture by François-Joseph Bosio and cast by Auguste Carbonneaux in 1824 for the Tuileries Garden in Paris, which is now housed at the Louvre Museum in Paris (no. LL325). A bronze replica cast by Charles Crozatier sits in The Pond in The Botanical Gardens at Kew and has been part of the Royal Collection since it was acquired by King George IV in 1829. 

A French bronze group of the Laocoön, After the Antique, late 19th century, Depicting the Trojan priest and his two sons being attacked by snakes, on a stepped rectangular base, with cast signature F. BARBEDIENNE. FONDEUR. and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, 45.5cm high, 31.8cm wide, 15.8cm deep      Footnotes: Note: This sculpture is a reduced bronze version of the Laocoön, which is one of the most iconic marble statues from Roman antiquity. It depicts a scene in Book II of Virgil’s Aeneid, where the Trojan priest Laocoön and his two sons are attacked by snakes sent by the goddess Minerva after he warned the people of Troy not to bring the Greek’s gift of the wooden horse into the city walls. The original was discovered near the church of Santa Maria Maggiore in Rome on 14 January 1506, and has since been the subjection of extensive artistic reproduction. It is mentioned in Pliny the Elder’s Natural History as a ‘work superior to any painting and any bronze’ - [Natural History 36.37]. It attracted the attention of Renaissance artists including Michelangelo and his contemporaries and it greatly influenced future works. Upon its discovery, Pope Julius purchased the statue and transferred it to the Cortile Belvedere and it is currently on display in the Vatican’s Pio Clementino Museum. This version was produced by the foundry of Ferdinand Barbedienne, 1810-1892, whose workshop in Paris specialised in bronze reductions of famous sculpture from the Antique, Renaissance and Baroque periods. Achille Collas, 1795-1859, was a French engineer and inventor who developed processes to reproduce bronzes at a smaller scale, known as the ‘réduction méchanique’, transforming the bronze industry by enabling the recreation of smaller scale reproductions of famous sculptures.   

After Giambologna, Italian, c.1529-1608, an Italian bronze model of Venus after the Bath, Late 18th / early 19th century, The standing figure towelling herself dry, on a later siena marble base, the bronze - 21.2cm high; overall - 25cm high Footnotes: Note: The present lot is one of several versions of Venus after her bath by Giambologna and is one of his most sought-after compositions.  Giambologna’s rendering of the female nude in a variety of poses are among the most admired in all of European sculpture.  He reinterpreted classical statues in light of Michelangelo’s studies in contrapposto and figura serpentinata.  The present lot demonstrates his desire to create models that could be admired from every vantage point.  The beauty of the curving nude back of Venus is given equal attention to the front of the semi-nude.

A Heavy Gilt Bronze Grand Tour Style Sculpture of a Classical Horse on Rectangular Plinth, 17cm Long

Philip Jackson (Scottish, b. 1944). Saraband, Edition 4 of 8, bronze sculpture, 190 x 84 x 86cm    Provenance: Purchased by the vendor from the Catto Gallery, London, 2007

Cheryl Barnett, ' October ', green patinated bronze abstract sculpture, No. 3 from a Limited Edition of 7, signed and inscribed to the base, 92cm high, together with a copy of the original purchase invoice and miscellaneous other related ephemera

Bronze on onyx base, with sculpture of an Egyptian Dancer, signed Charles, with lighting, length 42 cm. This lot will not be shipped by the auction house.

Consisting of 9 pieces, including sculpture, bronze on natural stone base, signed, depicting a couple on sofa, sculpture height 17 cm.

A Deer, bronze sculpture, marble base, French, 20th C., small fautls on the patine, latyer edition, signed J. MOIGNIEZ - probably Jules Moigniez (1835-1894), Dim. - (bronze) 69 cm; (total) 74,5 cm

ANTÓNIO SOARES DOS REIS - 1847-1889, Christ crucified, bronze sculpture, modern support, signed and dated 1874, Dim. - (escultura) 58 cm

A dancer, Art Noveau, bronze sculpture with partially gilt patina, marble base, European, 20th C. (1st quarter), large chip on the edge on the back of the base, Dim. - (total) 55,5 cm

ROLF HARRIS (AUSTRALIAN 1930-2023) 'INTUITION' a limited edition bronze sculpture of a pair of hands 177/595, signed and numbered with certificate and box, height including black marble plinth approximately 29cm x length 24cm, Condition Report: patina rubbed in places, outer box tatty

CONTEMPORARY SCHOOL SCULPTURE, with central cut out and diver in pose, resin in faux bronze finish, 81cm H x 44cm W x 25cm D.

An Otto Rasmussen bronze sculpture of a horse with jockey up. 22 cm high.

After the Antique, a modern bronze sculpture, modelled as a Borghese Gladiator, bears signature 'Moreau' to base, on marble plinth, 25 by 13 by 42cm high.

Giuseppe Renda (Italian, 1859-1939): 'Neapolitan boy urchin with monocle', a bronze sculpture, signed 'G. Renda' in the bronze, made in Italy, numbered 20604 on underside of the base, Art Lagana, Napoli foundry seal, 21.5cm high.

A cast bronze sculpture, modelled as Mercury, standing and reaching down to his ankle, on marble socle, 16 by 57cm high.

Large bronze sculpture of a mermaid

Ronald Cameron (b.1930) - a limited edition late 20th century bronze sculpture depicting two lovers. The lovers in kneeling position, nude, with sheets around them. Signed to base R. Cameron 97 1653/5000. Measures approx. 33cm tall, 35cm wide.

This original high relief bonded bronze sculpture by American Contemporary artist Bill Mack features a young child sitting in a deep oval frame with one foot hanging off its edge in a Trompe-L'oeil effect. Mack used different tones for the girl's hairbow, ruffles on her shirt, and her shorts to emphasize the realism of his subject. Signature carved on lower right: Bill Mack. Edition number in pen on lower right: 23/95. Artist: Bill Mack (American b. 1949)Issued: c. 1990Dimensions: 25"L x 5"W x 34"HEdition Number: 23 of 95 Country of Origin: United StatesCondition: Age related wear.

§ Bobby Moore Limited Edition Bronze Football Boot. A life-sized sculpture replicating Bobby Moore's left boot, worn by him during the iconic World Cup final on July 30th, 1966. This is the fifth casting of an edition of eight bronzes. It has been intricately crafted by Philip Jackson MA FRBS FRSA. It comes with a Certificate of Authenticity from the Bobby Moore fund for Cancer Research UK, personally signed by Stephanie Moore and dated 27th November 2008. In Perspex display case with wooden base, measures L38xW21xH18cm (2). Artists Resale Right maybe additionally payable on top of the hammer price for this lot where above the threshold, visit dags.org for more information.

Italian Art Deco Bronze Sculpture "Vittoria" Modelled holding a laurel wreath aloft, patinated finish throughout, mounted on square section marble plinth base, bearing A. de Dominicis Roma retailer's label.40.5cm highLoss to rear right lower corner of base, several fissures running through the marble, otherwise light general wear but no other major issues to note; approximate date circa 1930s-50s.

John William Mills PPRBS ARCA FRSA (British 1933-2023) "The Dancers" Large and impressive bronze figure group, bearing incised signature, no. 2/2, on circular black hardstone base. 131cm high Private collection in the North-West of England, thence by descent. John William Mills PPRBS ARCA FRSA (British 1933-2023) is an award-winning sculptor in bronze and is best known for the 1991 National Firefighters Memorial outside St. Paul's Cathedral and 2005 Monument to the Women of World War Two in Whitehall.Mills displayed prodigious talent in sculpture from a young age, exhibiting at the Royal Academy when still a teenager in 1951 and following that with his first solo exhibition in 1959; he has since exhibited internationally and his work is held in public and private collections.The challenge of resolving the counterbalance between the beauty and the power of ballet and capturing that paradox in bronze was one Mills uniquely mastered among British sculptors of his generation. Good, original condition without damage or issues to note; some dirt, dust and minor casting irregularities.

# Peter RANDALL-PAGE (British b. 1954) Night Song Verde Patricia Marble and Bronze sculpture Carved and cast, 1984 Height 43cm, Length 20cm Provenance: Mr R. Warby purchased 1985 from The Anne Berthoud Gallery, Bristol Exhibited: 1985 New Work, 1984 Anne Berthoud Gallery, Bristol, 1992 Peter Randall-Page Sculpture and Drawings 1980 to 1992, Leeds City Art Gallery and Yorkshire Sculpture Park

Modernist contemporary bronze sculpture of a nude 2 headed female in handstand pose on a square wooden base 27cm high x 30cm wide x 20cm deep

A bronze sculpture of boxing hares on a marble plinth, marked Nick, 25cm tall

A modern bronze sculpture of a nude seated upon a column, hand outstretched with bird, marble base 42.5cm total height

A bronze sculpture of dancing fawn of Pompei, standing, 38.5cm

A Japanese bronze sculpture of an elephant, thought to be Meiji period, tusks removed, 36cm high x 67cm long

Eutrope Bouret (French 1833-1906) "The Weight lifter" bronze patinated sculpture, signed to base, depicting a young man standing with his hands on his hips with a large dumbbell to the base, 46cm high Provenance - Jean-Pierre Gasquet Collection.

Enzo Plazzotta (1921-1981) Italian, 'Grand National '74', a large patinated bronze of a tumbling horse, foundry marks to base, 64 cm high x 73 cm wide, on associated composite display column, 152 cm overall height.Another very similar sculpture titled 'Barbara's Horse' is known to have been exhibited in the grounds of Stowe, Buckinghamshire in 1969. Private collection, from the estate of a large Oxfordshire country house.

Iluis Jorda and Roland Chadwick - two 20th century bronze resin statues of nude figures. The lot comprising a sculpture titled Serenity depicting a nude woman atop a rock, mounted on marble base and signed Iluis Dorda, the other comprising a pair of lover in an embrace signed Roland Chadwick 1986. Tallest measures approx. 35cm tall.

Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Polished bronze sculpture titled "Folklore 85, No. 26" in the form of an abstract form on a slate base. Signed and numbered 1/5 along the base of the bronze.Provenance: Klabal Gallery, Minneapolis; Private Minnesota Collection.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid-20th century. Kieff is renowned worldwide for his biomorphic, organic, and flowing sculptures made from wide arrays of materials. Outside of works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.(Incl. Stand) Height: 30 in x width: 9 in x depth: 11 in. Weight: 55 lbs 1 oz.Condition:There are no bends, breaks, losses, or restorations Light wear to the base. Some losses and wear to the gallery label.

Cast bronze sculpture after the marble "Hermes and the Infant Dionysus" that was rediscovered in 1877 in the ruins of the Temple of Hera, Olympia, in Greece. The original marble sculpture is displayed at the Archaeological Museum of Olympia.Height: 28 1/2 in x width: 11 in x depth: 12 in. Weight: 48 lbs 13 oz.Condition:No major bends, scratches, or losses. Areas of tarnishing and discoloration throughout. Some accretions throughout, especially along the draped fabric. Dust and dirt gathered in the recessed areas.

Chiurazzi Foundry, Napoli, Italy. Cast bronze sculpture in the form of a dancing satyr. After the famous "Dancing Faun of Pompeii" that was rediscovered in 1830 and is located at the National Museum in Naples, Italy. Foundry mark along the base.Height: 32 in x width: 11 1/2 in x depth: 11 in. Weight: 28 lbs 11 oz.Condition:There are no visible cracks, chips, or losses. There is a patina to the surface. There is dust and debris accrued in the recesses.

A BRONZE SCULPTURE OF A DOG, 19cm x 13cm

Continental School (19thC). A bronze sculpture of two frolicking boys, on a circular base and black marble or slate socle, 12.5cm high.

After Pierre-Jules Mene (French 1810-1879). "Accolade", a gilt bronze sculpture of horses, on a red marble base, 14cm wide.

An early 20thC bronze sculpture, possibly Vietnamese school, of a crouching figure holding a paddle, on a rectangular base and wooden stand, 15cm wide.