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Click here to subscribeEdgar DEGAS (1834-1917), sculpture in brown patinated bronze Cheval à l'arret, numbered XV/XXIV and signed on the base, posthumous edition (see justification)Edgar DEGAS (1834-1917), sculptuur in bruin gepatineerd brons Cheval à l'arret, genummerd XV/XXIV en getekend op de voet, postume uitgave (zie justificatie)31.5 x 36 x 35 cm with justificationmet justificatie
François POMPON (1855-1933), sculpture in bronze with black patina 'Marabout', signed Pompon and numbered 18/48, cire perdue, posthumous edition bearing the stamp of the bronze foundryFrançois POMPON (1855-1933), sculptuur in brons met zwarte patine 'Marabout', getekend Pompon en genummerd 18/48, cire perdue, postume uitgave voorzien van de stempel van de bronsgieterijH 24.5 cm met justificatie
Domien Ingels (1881-1946), the prancing stallion, 1924-1925, a very rare and large sculpture in patinated bronze, on a stepped Belgian marble and wooden base, signed on the bronze baseDomien Ingels (1881-1946), de steigerende hengst, 1924-1925, een zeer zeldzaam en groot beeld in gepatineerd brons, op een getrapte Belgische marmeren en houten sokkel, gesigneerd op de bronzen sokkel80 x 53 x 43 cm
Achilleas Apergis (1909-1986), Greek Circa 1960s, A large unmounted Brutalist form Bronze sculpture With a Greek government seal attached Achilleas Apergis was born in Corfu in 1909. He was trained in drawing and sculpting and began embracing more abstract work in the 1950s. His first solo exhibition took place in 1955 at Ilissos Gallery in Athens. He has exhibited in galleries in Florence, Milan, and at the Carl Flicker Gallery in Paris (1965). He participated in multiple international art fairs representing Greece including the São Paulo Biennale (1957), the Alexandria Biennale (1957) and the Venice Biennale (1968). Provenance: Pierre Rouve Dimensions: 26 in. (H) x 9 in. (W) x 13 in. (D)
Geoffrey Clarke (1924-2014), British 1956, An abstract study for a sculpture Sugar-lift aquatint in colours on wove, a proof aside from the edition of 30 Signed bottom right and inscribed bottom left '3/30 /6/56' Together with a 2013 Pangolin London Geoffrey Clarke RA catalogue for the 'A Decade of Change' exhibition Geoffrey Clarke was born in Derbyshire in 1924. He studied at Preston Manchester School of Arts and specialised in stained glass during his studies at the Royal College of Art after serving in the RAF during WWII. He was a sculptor who used various media including iron, bronze, aluminium, expanded polystyrene and stained glass. He was commissioned to do work at the Coventry Cathedral, Lincoln Cathedral and in St. Martin's Lane. He represented Britain at the 1952 Venice Biennale and had solo exhibits at Gimpel Fils Gallery in 1955, Strand Gallery, Alderberg in 2003, the Fine Arts Society in 2006, and the Linton Court Gallery, Settle in 2013. Clarke was made a Royal Academician in 1975. Provenance: Pierre Rouve Dimensions: (Frame) 45.5 in. (H) x 31.5 in. (W) (Paper) 37.5 in. (H) x 23.5 in. (W)
Achilleas Apergis (1909-1986), Greek Circa 1960s A large bronze Brutalist sculpture on a wooden base Together with an Athens Gallery, Hilton, copy of a 1966 catalogue of Apergis' sculptures and drawings Achilleas Apergis was born in Corfu in 1909. He was trained in drawing and sculpting and began embracing more abstract work in the 1950s. His first solo exhibition took place in 1955 at Ilissos Gallery in Athens. He has exhibited in galleries in Florence, Milan, and at the Carl Flicker Gallery in Paris (1965). He participated in multiple international art fairs representing Greece including the São Paulo Biennale (1957), the Alexandria Biennale (1957) and the Venice Biennale (1968). Provenance: Pierre Rouve Dimensions: 35 in. (H) x 8 in. (W)
Branko Ružić (1919–1997), Croatian A bronze brutalist sculpture on a wooden base Circa 1965 Together with two black and white photographs of similar wooden sculptures by Branko Ružić Branko Ružić was born in Zagreb. He studied sculpture at the Academy of Fine Arts in Zagreb. In 1951 Ružić held his first solo exhibition in the Vinkovci City Museum, and in 1964 Ružić was included in the Venice Biennale. From the 1960s to the 1980s he was a professor at the Academy of Fine Arts, Zagreb. In 1993 a gallery named after him was opened in Croatia. Provenance: Pierre Rouve Dimensions: 11 in. (H) x 8 in. (W) x 9 in. (D)
A varied collection of 88 English and Chinese reference works on Chinese ceramics and bronzesVarious Dimensions Provenance: The collection of Galerie Beaute Chinoise, Paris, France Interpretation and annotation of the procelain by Yinliuzhai (Chinese Edition) - Hardcover - Xu Zhi Heng , ISBN 9787800475177La ceramique Chinoise - Hardcover - He LI , ISBN 9782859172466La Ceramique d'Extreme-Orient - Hardcover - John Ayers, Helene Fromentin , ISBN 2092905376Blanc de Chine: The Great Porcelain of Dehua - Hardcover - Blumenfield, Robert H. , ISBN 9781580082938Initiation aux Bronzes Archaiques Chinois: Leur importance dans la culture chinoise, leurs formes, leurs fonctions et leurs decors - Christian Deydier , ISBN 9782955416013China's Earliest Bronze Vessels - The Erlitou Culture of the Xia Dynasty - Christian Deydier , ISBN 9782955416037Understanding Ancient Chineze Bronzes: Their Importance in Chinese Culture, Their Shapes, Functions and Motifs (Chinese Edition) - 读懂ä¸å›½é’铜器：文化ã€å½¢å¼ã€åŠŸèƒ½ä¸Žå›¾æ¡ˆ - Christian Deydier , ISBN 9787544752114Understanding Ancient Chineze Bronzes: Their Importance in Chinese Culture, Their Shapes, Functions and Motifs - Initation aux Bronzes Archaiques Chinois (French Edition) - Christian Deydier , ISBN 9782955416013Understanding Ancient Chineze Bronzes: Their Importance in Chinese Culture, Their Shapes, Functions and Motifs (English Edition) - Christian Deydier , ISBN 9782955416006Exceptionnel Chariot attele et son palefrenier - Exceptional Horsedrawn Carriage with a Groom - Christian Deydier The British Museum - Chinese Ceramics: Highlights of the Sir Percival David Collection - Hardcover (Chinese edition) - Regina Krahl and Jessica Harrison-Hall , ISBN 9780992665807The British Museum - Chinese Ceramics: Highlights of the Sir Percival David Collection (English edition) - Regina Krahl and Jessica Harrison-Hall , ISBN 9780714124544University of London - Percival David Foundation of Chinese Art - Illustrated Catalogue of Ch'ing Enamelled Ware - 1973 - Lady David University of London - Percival David Foundation of Chinese Art - Illustrated Catalogue of Ming and Ch'ing Monochrome - 1973 - Margaret Medly University of London - Percival David Foundation of Chinese Art - Illustrated Catalogue of Ting and Allied Wares - 1980 - Margaret Medly University of London - Percival David Foundation of Chinese Art - Illustrated Catalogue of Celadon Wares - 1977 - Margaret Medly University of London - Percival David Foundation of Chinese Art - Illustrated Catalogue of Underglaze Blue and copper-red Decorated Porcelains - 2004 For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art - Hardcover - Rosemary E. Scott , ISBN 9813066016Rare Marks on Chinese Ceramics - A joint exhibition from the Percival david Foundation of Chinese Art and the Victoria and Albert Museum - Hardcover , ISBN 9780728602908The British Museum - The BP exhibition - Ming: 50 years that changed China - Craig Clunas and Jessica Harrison-Hall , ISBN 9780714124841æ±‰ä¼ ä½›åƒæ—¶ä»£ä¸Žé£Žæ ¼ = The times and the styles of statues of Buddha in Chinese Buddhism/Han chuan fo xiang shi dai yu feng ge - Chunhe Huang , ISBN 9787501029617The Chinese Porcelain Collection of Marie Vergottis - John Ayers , ISBN 9782884531160Victoria and Albert Museum - Far Eastern Series: Later Chinese Bronzes - Rose Kerr , ISBN 9781870076111Song Dynasty Ceramics (Victoria and Albert Museum Far Eastern) - Hardcover - Rose Kerr , ISBN 9781851774159Victoria and Albert Museum - Chinese Export Art and Design - Softcover - Clunas, Craig , ISBN 9781851770007Six siecles de peintures chinoises - oeuvres restaurees du musee Cernuschi - Paris Musees , ISBN 9782759600755Cinq Bonheurs: Messages Caches dans l'Art Chinois - Softcover - Nikles Van Osselt Es , ISBN 9788874395569The Shaanxi Provincial Museum - Hardcover - Wang Renbo , ISBN 962733801xé™¶ç“·ç ”ç©¶é‘‘è³žå¢æ›¸ - æŽæ£ä¸ , ISBN 9576720575World in Monochromes, The Oriental Ceramic Society, 2009 - Softcover - Rosemary E. Scott , ISBN 9780903421287The Shanghai Museum - Softcover , ISBN 9781857594997Faces of Eternity (Chinese Buddhist Sculpture) - Softcover - Elizabeth Childs-Johnson , ISBN 9780692001899Les Trois Reves Du Mandarin , ISBN 9789061538967Chung-kuo chÊ»ing hua tzÊ»u - Zhengzhong Li , ISBN 9789576721007Appraisal on the Blue and White Porcelain (Volume 1 and Volume 2) (Chinese Edition) - Softcover - Li Hui Bing , ISBN 9787800478222Faces of Eternity (Chinese Buddhist Sculpture) (Chinese Edition) - Softcover - Liu Wei , ISBN 9787513400299至æ£åž‹é’花瓷 - 裴光辉 , ISBN 9787539314303转å˜æœŸé’花瓷 - 裴光辉 , ISBN 9787539314266Kangxi Blue and White - Softcover (Chinese Edition) - PEI GUANG HUI ZHU , ISBN 9787539314327æ±ç“· - 裴光辉 , ISBN 9787539314297空白期é’花瓷 - 裴光辉 , ISBN 9787539314273200 ancient pottery figurines you should know (Chinese Edition) - Softcover - Feng He Jun , ISBN 9787800476457Inaugural Exhibition Catalog of the Museum of East Asian Art Volume One:Chinese Ceramics - Hardcover - McElney, Brian , ISBN 189773400xShunzhi Kangxi Blue and White: the National Palace Museum in the Qing Dynasty porcelain triage - Hardcover - CHEN RUN MIN , ISBN 9787800474750Seventeenth Century Jingdezhen Porcelain: From the Shanghai Museum and Butler Family Collections - Softcover - Butler, Michael;Quingzheng, Wang , ISBN 9781857594171Homage to Heaven, Homage to Earth: Chinese Treasures of the Royal Ontario Museum - Hardcover - Royal Ontario Museum , ISBN 9780802058768Son of Heaven: Imperial Arts of China - Softcover - Thorp, Robert L. , ISBN 092920901xla Slendeur du Feu - Centre Culturel de Chine a Paris , ISBN 9782952193900La Ceramique Chinoise (1894) - E. Grandidier Hidden Meanings in Chinese Art - Hardcover - Bartholomew, Terese Tse , ISBN 9780939117369芳茗é æ’ : 亞洲茶文化 = The far-reaching fragrance of tea : the art and culture of tea in Asia , ISBN 9789575627461Song Ceramics From the Kwan CollectionHardcover , ISBN 96221512310The Fame of Flame: Imperial Wares of the Jiajing and Wanli Periods çˆç«ç´”é’: 嘉é–åŠè¬æ›†å®˜çª¯ç“·å™¨ , ISBN 9789628038954Concubines et courtisanes: la femme dans l'art erotique chinois - Ferry M. Bertholet , ISBN 9782742793563Chinese Ceramics from the Gulexuan Collection - Regina krahl Art and Imitation in China - Hardcover - Barnett, Malcolm , ISBN 9789627287513Metal, Wood, Water, Fire and Earth. Gems of Antiquities Collections in Hong Kong - Hong Kong Museum of Art , ISBN 9622151906In Pursuit of the Dragon: Traditions and Transitions in Ming Ceramics - Softcover - Idemitsu Bijutsukan , ISBN 9780932216274Inaugural Exhibition Catalog of the Museum of East Asian Art Volume Two: Chinese Metalwares and Decorative Arts - Hardcover - McELNEY, Brian S. , ISBN 1897734018Defining Yongle: Imperial Art in Early Fifteenth-Century China - Softcover - Watt, James C. Y.;Leidy, Denise Patry , ISBN 9780300107159Stunning Decorative Porcelains From the Ch'ien-lung Reign (Chinese Language) - LIO PAO SHOW , ISBN 9789575625429SPLENDORS OF IMPERIAL CHINA. TREASURES FROM THE NATIONAL PALACE MUSEUM TAIPEI , ISBN 870997661Qing Imperial Monochromes the Zande Lou Collection ISBN 9789627101734Splendors in Smalt: Art of Yuan Blue-and-white Porcelain - Softcover , ISBN 9787547904886 And many more: full list on our website.
Wolfers Freres - an important Bacchus jug designed by Philippe Wolfers (1858-1929) and produced in ceramic by Emile Muller circa 1898. Heavily potted in the form of a pear shaped body on a splayed foot, with bearded mask of Bacchus under the spout and grapes beneath the handle. Thickly glazed in greys, greens, blues and golden brown. Inscribed "Wolfers" to the foot and imprinted with marks to the base: "Reproduction Interdit" and a medallion bearing the name "Emile Muller" together with a reference "18C". Philippe Wolfers was a Belgian designer specialising in jewellery, silver, bronze and sculpture. Renowned for his Art Nouveau/Jugendstil designs, and later influenced by Art Deco, he was less prolific, and therefore less familiar, than his French peer Rene Lalique. Wolfers' "exemplaire unique" series of jewellery is among the finest during the period. This jug is a ceramic production of Wolfer's original bronze, lidded jug "Le Vin" which was retained in the Philippe Wolfer's private collection for many years. The form and style evoke the late mediaeval Rhennish Bartmann stoneware jugs, and so it is understandable that Wolfers, when seeking to reproduce the piece in ceramic, sought a collaboration with Emile Muller, whose Grande Tuilerie d'Ivry produced the stoneware balustrades for the Eiffel Tower and as well as works for a range of other artists and sculptors such as Grasset, Toulouse-Lautrec, Chalon, Charpentier and Falguière. Height 26cm. Width 22cm. Depth 13cm. (M)
A contemporary bronze sculpture of a Terrier called 'Tigger', the standing figure on a rectangular shaped base. Signed to the base 'Mary Beattie Scott' and initials, and marked to the base 'Tigger'. 18.5cms high, 22cms long *Artists Resale Rights applies to this lot. *CR There is a small crack on the front of the base from manufacture and a couple of marks around the base, otherwise seems fine.
BERNHARD HOETGER (1874-1949) 'MÄDCHEN MIT REIF', CIRCA 1901 bronze, signed in the bronze with monogram 19cm high Note: After studying at the Düsseldorf Art Academy under Karl Janssen, Bernhard Hoetger travelled to Paris and settled there from 1900 to 1907. He became acquainted with artists such as Paula Modersohn-Becker, Käthe Kollwitz, Karl Hofer and Henri Rousseau. He was most interested by Rodin's work, which strongly influenced his visual language in this early phase. As early as 1901, Hoetger achieved his artistic breakthrough with the sculpture “L'Aveugle (The Blind Man)”. This led to the first contact with Julius Meier-Graefe, director of the Art Nouveau gallery "La Maison Moderne", who included Hoetger's sculptures in the gallery's sales catalogue alongside works by George Minne, Charpentier and others. His time in Paris, during which the present example was also created, ended in 1909 with Hoetger's appointment as a professor at the Darmstadt artists' colony.
CARL-ALBERT ANGST (1875-1965) GROUP OF WORKS to include MALE AND FEMALE ATHLETES, bronze, 39.5cm high and 42cm high, the female signed in the bronze C ANGST; together with a NUDE STUDY, 1918, charcoal, signed and dated lower right C. ANGST 1918, 25cm x 34.5cm (frame size 33cm x 43cm); and another by the same hand, charcoal and chalk, 39cm x 29cm (frame size 52.5cm x 43cm) (4) Note: Carl Albert Angst was born in Geneva in 1875. He studied at the Industrial Art School, before travelling to Paris where he worked from 1896-1904 in the studio of Jean Dampt. In 1909 he won one of the five prizes for the project of a Swiss national monument on the theme "the age of heroes". Initially Angst's work was in the Art Nouveau style, in a variety of media including wood, clay and bronze. His style then shifted to follow Auguste Rodin, focusing on sculpture spotlighting symbolic and psychological moments. He would have known Rodin personally, in 1909 being appointed member for life of the National Society of Fine Arts in Paris, Rodin then being president of the jury. His sculptures adorn several Swiss landmarks including the the exterior decorations of the Federal Court of Lausanne and the Cornavin station in Geneva. The diversity of his output endured throughout his life, with works including tombs, medallions, and paperweights. Carl Angst died in Geneva on May 4, 1965 and is buried in the cemetery of the Kings. His work entitled ‘Towards Infinity’ adorns his burial place.
RÓMULO ROZO (1899–1964) 'LA MUSICA', 1925 bronze, raised on a slate plinth, inscribed in the bronze plinth RÓMULO, signed with monogram and dated in the bronze plinth (twice) RR/ PARIS/ 1925, signed, inscribed and dated to the reverse RR/ 1925/ ESVENO, with foundry stamp MARONI RADICE/ CIRE PERDUE/ PARIS bronze 31.5cm high, with plinth 36cm high The first few decades of the twentieth century were a turbulent era for Columbian art. Bogota born sculptor Romulo Rozo (1899-1964) sat at the heart of this changing artistic climate, educated within and inspired by both European and indigenous artistic traditions. His work’s incorporation of Pre-Columbian motifs and myth resulted in him becoming an enduring figurehead for the art of his homeland and its distinctive identity. Colonial activities in Colombia and movement of artists between Europe and Latin America fostered strong Spanish and French influences in the art scene in Columbia at the conclusion of the 19th century. The founding of the School of Bogota at the start of the 20th century however, heralded a desire to free Colombian art from European models. Nevertheless, just a couple of decades later and under political pressure to promote Spanish heritage as a model for society and the arts, the pendulum swung back the other way, as the Circle of Fine Arts was established. This organisation favoured artists following the academic tradition seen in Madrid. Rozo was born in Bogota in 1899 and first enrolled at the National School of Fine Arts in his home city. As was politically popular, he then followed a European training route, travelling to Spain where he studied for four years, before completing his education in Paris. Here he worked with sculptors including Paul Landowski, known for his work Christ the Redeemer in Rio de Janeiro, and Antoine Bourdelle. This mixture of European and Latin American training is evident in his work La Musica. Executed in 1925, during his time in France, it reflects the two locations of Rozo’s training; the impressed decoration and highly textural protrusions have visual parallels in indigenous Columbian art, but the figure’s contrapposto pose and realistic form draw heavily on the European classical tradition. Executed in the same year as La Musica, the granite sculpture Bachué would become his most celebrated and famous work. To the indigenous Muisca people of modern-day Colombia, Bachué is the mother goddess of humanity. Rozo’s sculpture depicts the two parts of the Muiscan origin of humanity myth; the goddess emerging from the water holding a child and snakes returning to the lake having populated the earth. The sculpture reached its zenith at the 1929 Ibero-American Exposition in Seville, an extended exhibition celebrating the links between Spain and Latin America. It sat in a fountain at the heart of the Columbian pavilion, the carvings and façade scheme of which were also designed by Rozo. Such was the impactful presentation of the almost life-size work that it was awarded a prize. This exposure and recognition thrust Rozo into the artistic spotlight and cemented Bachué as a landmark in Colombian art. Rozo’s sculpture was adopted as a symbol for what was later named the Bachué Group; artists and writers in the late 1920s looking to champion indigenous concerns within contemporary Colombian art. In June 1930 they published ’Monografia del Bachué’ in the newspaper El Tiempo, a document regarded by some as their quasi-manifesto. The group sought a return to their country’s roots by putting local and indigenous culture foremost in the arts. The legacy of their work survives today under the Proyecto Bachué, a platform for managing activities related to Colombian arts and acting to promote and support contemporary creative enterprises.Bachué represented a pivotal moment in Rozo’s personal artistic development, by cementing the Pre-Columbian visual language in which he primarily would work for the rest of his life. Thus, La Musica provides a touchstone with Rozo’s period of self-discovery, as he experimented with combining European and Latin American models before fully embracing his roots. Further, the sculpture illustrates the wider cultural interests of the man behind the chisel. In addition to his artistic contributions, Rozo was involved in the Columbian musical offering at the 1929 Ibero-American Exposition. He performed disguised as a peasant with the Columbian duo Wills and Escobar, their act showcasing another form of indigenous art. La Musica depicts a musician deep in reverie, a state with which Rozo was perhaps familiar. After his success in Paris, Rozo relocated to Mexico in 1931 where he worked for ten years as a member of the Columbian government’s cultural department. Surrounded by Mayan culture, Rozo incorporated these influences into various projects, most notably in Monumento a La Patria in Mérida (1956). Despite his early acclaim, he died a poor man in Yucatan in 1964. Throughout his life he used art to pursue his indigenous ancestors with a tenacity bordering on the obsessive, La Musica representing a crucial part of his search for an authentic creative identity.
‘ The Auctioneer ‘ bronze trophy, sculpture modelled as an Auctioneer at the rostrum stood on a wooden plinth. Silver coloured plaque to all sides of base, front reads: ‘ “ The Auctioneer “ Perpetual Challenge Trophy presented by British Car Auctions Limited THE BEN NATIONAL GOLF TOURNAMENT First Played at Wentworth on 18th April 1974. ‘ Inscribed with tournament winners from 1974-1984. Bronze height 25cm, overall height 31cm. Overall weight 2.5g.
Paire d'importants et grands candélabres de style Louis XVI d'époque Napoléon III en bronze ciselé et doré à dix lumières, milieu XIXe siècleA pair of monumental Napoleon III ormolu ten-light candelabra in the Louis XVI style, mid-19th centuryEach depicting draped dancing muses holding aloft the foliate and flowering branches terminating in rose and lily-shaped nozzles and drip-pans, on reeded columnar bases hung with berried swags, above beaded and foliate moulding, on a square plinth with canted angles, 45cm diam., 135cm high, (17 1/2in diam., 53in high)Footnotes:Provenance Most probably, Marchese Orso Serra, Villa Serra in Comago, near Genoa. Private Italian collectionThe model of these candelabra is based on two plaster casts by Etienne Maurice Falconet (1716-1791), known from a drawing by Gabriel de Saint-Aubin executed in the margin of a booklet of the Salon of 1761. Similarly, the draped nymphs or muses can be as well associated to a model by Louis Simon Boizot (1743-1809) who was director of sculpture at Sèvres in 1774 (E. Bourgeois and G. Lechevallier-Chevignard, Le Biscuit de Sèvres, Recueil des modèles de la Manufacture de Sèvres au XVIIIe Siècle, Vol.I, p.23, no.311), see F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, p.89, F136-7.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
DEMETRE CHIPARUS (1886-1947): AN ART DECO PATINATED AND GILT-BRONZE CHRYSELEPHANTINE FIGURE OF THE DANCER OF KAPURTHALACirca 1925 Stamped to the underside of the foot MADE IN FRANCE numbered ‘41’, signed ‘Chiparus’ to the stepped onyx base, 56cm highIvory License reference: 5ZMYMJ2CDemetreChiparus was at the forefront of the Art Deco style and his detailed andrefined sculptures epitomise the dynamism, elegance and glamour of the period. This sculpture, conceived in 1925, is believed to have beeninspired by Anita Delgado, a flamenco dancer who captured the heart of theMaharajah of Kapurthala when he saw her perform at a café while attending thewedding of Spain’s King Alfonso XIII. Similar examples are illustrated:B.Catley, Art Deco and Other Figures, Woodbridge, 1978, p. 92; A.Shayo, Chiparus, Master of Art Deco, New York, 1999, p. 132, pl. 63. Provenance: The Purple Shop – The Anthony Gardner Collection.See Bellmans website article for further information: https://www.bellmans.co.uk/story/the-purple-shop-the-anthony-gardner-collectionFootnoteProspective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country. Condition Report:Base - Small chips and scratches as expected due to age. Top front corner repaired (photographed). Figure - Discolouration to the ivory due to age. Would recommend viewing in person to satisfy yourself of the condition prior to purchase.
A Continental patinated bronze model of the Diane de Gabies, cast after the Antique, late 19th century; portrayed standing and classically draped; 52cm highLITERATURE: Francis Haskell & Nicholas Penny, Taste and the Antique, the Lure of Classical Sculpture, 1500-1900, Yale University Press, 1981, pp. 198-199
A collection of metal. ceramic, composition and other sculpture of fauna, late 19th and 20th century; including a gilt bronze wall mounting eagle's head, 20cm protuberance; two cold painted metal models of parrots, one with inset knib-wipe brush, 8.5cm high; a porcelain model of a penguin, 9cm high; a metal model of a lizard, 15cm long; an articulated metal model of a crab, perhaps Japanese, 7cm wide; further metal models of a crab, two lobsters, an owl, an Oriental lion; a tortoise shell, and other items
A small collection of sculpture, 19th and early 20th century; comprising a lead model of Father Time, 19th century, portrayed standing, (wings detached), 34cm high; a carved walnut herm figure, 19th century, 45cm high; a fragmentary carved wood Corpus Christi, 34cm high; a stone mortar, 14cm high; an alabaster desk stand modelled as a Roman bath in Grand Tour taste; a bronze model of a warrior, and a painted plaster model of a male nude
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