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A LATE 20th / EARLY 21st CENTURY BRONZE TYPE MODERNIST SCULPTURE OF A WARRIOR BY T.W No. 1 OF 6

Leopoldo Ansiglioni, 1832 – 1894GALATEA (GALATÈE), 1882Basis: 30 x 73 x 52 cm.Skulptur: 50 x 80 x 38 cm.Signiert in einer der Bronzen „GALATEA LEOPOLDO ANSIGLIONI ROMA 1882“.Die sinnliche Darstellung der Nymphe Galatea, die auf einem Delphin liegt, ist das beliebteste Werk des italienischen Bildhauers Leopoldo Ansiglioni. Der Künstler fertigte drei monumentale Werke an, aber auch diese reduzierte Fassung, deren Marmor mit vergoldeter Bronze verziert ist.Der in Rom tätige piemontesische Bildhauer Leopoldo Ansiglioni fertigte Marmorarbeiten mit feiner Verarbeitung mit allegorischen oder mythologischen Figuren in einem neobarocken Stil. Erfolgreich war er in der zweiten Hälfte der 1860er-Jahre auf den nationalen Kunstausstellungen in Rom und dann auch auf internationalen Veranstaltungen und verbreitete sein Werk auf der ganzen Welt. Zu seinen Erfolgen zählen u.a. „La Notte“ (Die Nacht), „La Fiora del dolor“, auch „Flora“ genannt, eine nackte Frau mit einem Trauerschleier, die auf die Erde herabsteigt und die Blumen der Trauer streut. Diese beiden Skulpturen zeigen das Talent des Künstlers für die sinnliche Darstellung junger Frauen.Beide Werke wurden auf der Wiener Weltausstellung 1873 ausgestellt und dort auf Fotografien reproduziert. Um dem Erfolg gerecht zu werden, stellte Ansiglioni mehrere Exemplare aus. So fertigte er beispielsweise drei Exemplare von „La Notte“, von denen eines nach London ging.Ansiglioni schuf auch einige Kinderfiguren, darunter einen Jungen mit Schwan. Eine wurde 1917 der Public Library in Boston geschenkt, die es am Eingang einer Abteilung aufstellte. Ansiglioni schuf auch einige religiöse Themen, wie „Ismael in der Wüste“ und einen Schutzengel für ein Grab auf einem Berliner Friedhof. Sein berühmtestes Werk dieser Art ist jedoch der auferstandene Christus, der in der Mitte der Säulenhallen des Friedhofs Campo Verano in Rom steht. Schließlich ist Ansiglioni auch der Autor von Brustportraits und kleinen Terrakotten.Neben „La Notte“ und „Flora“ war „Galatea“ das am meisten bewunderte Werk von Leopoldo Ansiglioni. Sie wurde 1882 auf der Nationalen Kunstausstellung in Rom unter der Nummer 56 des Katalogs gezeigt, wo sie zu den am meisten gefeierten Werken gehörte. Ansiglioni fertigte von da an drei große Marmorversionen an. Eine davon, wahrscheinlich das erste Exemplar, schmückt das zentrale Becken des Wintergartens der Universität von Greenwich, London. Eine andere schmückt die Hauptterrasse des berühmten Schlosses San Simeon in Kalifornien, dem Wohnsitz des Zeitungsmagnaten William Randolph Hearst (1863-1951). Im Jahr 1889 wunderte sich W.R. Hearst in einem Brief an seine Mutter Phoebe Apperson Hearst (1842-1919), dass sie nicht die „Galatea“ von Ansiglioni gekauft habe, die er als "einen der schönsten modernen Marmore" bezeichnete und die er selbst gekauft hätte, wenn er damals über das nötige Geld verfügt hätte. Schließlich kaufte Phoebe die Skulptur und stellte sie bei sich zu Hause auf der Hacienda del Pozo de Verona in Pleasanton, Kalifornien, auf. Nach dem Tod von Phoebe wird die Skulptur nach San Simeon geschickt, wo sie 1923 in der Mitte der Hauptterrasse aufgestellt wird. Schließlich wird ein drittes Exemplar im Chi Mei Museum in Taiwan gezeigt. Diese letzte Version unterscheidet sich von den beiden anderen durch eine einfachere Basis aus weißem geädertem Marmor statt aus grauem Marmor und patinierter Bronze. Neben diesen drei Exemplaren fertigte Ansiglioni auch mehrere Reduktionen an, von denen unsere aufgrund der Qualität ihrer Darstellung und ihres Reichtums der dekorativen Elemente aus vergoldeter Bronze hervorsticht. In dieser Skulptur illustriert Ansiglioni ein mythologisches Thema, das zu den klassischen Themen der Kunst seit der Renaissance gehört: der Triumph der Galatea. Die Geschichte der Galatea findet sich ein erstes Mal bei Theokrit und wird später in Ovids Metamorphosen (Buch XIII) wieder aufgegriffen. Galatea, die Tochter des Nereus und der Doride, ist eine der glitzernden Nereiden, der Meeresnymphen. Ihr griechischer Name bezieht sich auf ihre weiße Haut, die an Milch und den Schaum der Wellen erinnert, mit denen sie in Verbindung gebracht wird. Dieses Weiß wurde von den Bildhauern durch den Carrara-Marmor vermittelt. Laut Ovid war Galatea verliebt in einen jungen Hirten namens Acis. Aus Neid und Eifersucht auf diese Liebe verletzte der Riese Polyphem den Hirten, indem er ihn mit einem Felsen zerquetschte. Doch Galatea betete zu den Göttern, dass die Wunde zur Quelle eines Flusses wurde und der Hirte so zu einer Flussgottheit wurde. Galatea wird von da an ein Bild für den Triumph der Liebe, und so wird sie oft – auf einer Muschel sitzend oder auf einem Meerestier reitend, umgeben von Amoretten - seit der Renaissance dargestellt, man denke an das berühmte Fresko, das Raffael 1513 für die Villa Farnesina malte. Ansiglionis Hauptinspiration war eine der Skulpturen, die den Garten der Villa Litta in Lainate in der Nähe von Mailand ziert und um 1585 von Pirro I Visconti Borromeo (1560-1604) entworfen wurde. Der Komplex ist berühmt für seine Springbrunnen und von Skulpturen geschmückten Gärten, darunter auch ein Brunnen mit dem „Triumph der Galatea“ von Carlo Beretta und Donato Carabelli.Anmerkung:Eine größere Version wird in der University of Greenwich, London aufbewahrt. Eine im Chi Mei Museum, Taiwan; eine weitere im Hearst Castle in San Simeon, Kalifornien.Literatur:Vgl. Thomas Allen, Annual report of the Art Department for the year ending January 31, 1918, Boston, Public Library, 1918.Vgl. Karl Baedeker, Italie. Manuel du voyageur, Leipzig 1890.Vgl. Stefano Causa, Luca Giordano. Polyphème et Galatée, in: Luca Giordano. Le triomphe de la peinture napolitaine, Ausstellungskatalog, Petit palais – Musée des beaux-arts de la Ville de Paris, Paris, 14. November 2019 - 23. Februar 2020, Museo e real bosco di Capodimonte, Neapel, 20. April 2020 - 26. Juli 2020, Paris 2019, S. 206-27.Vgl. Alfonso Panzetta, Dizionario degli Scultori italiani dell‘Ottocento, Turin 1989.Vgl. Maria Saveria Ruga, „Opera d´arte destinata a figurare in terra straniera“. Notizie di esportazioni nella pubblicistica romana tra 1846 e 1870, in: Roma fuori di Roma, hrsg. von Giovanna Capitelli, Stefano Grandesso, Carla Mazzarelli, Rom 2012, S. 69-86.Vgl. Isabella Valente, Sulle ali del Simbolismo. Di alcune opere dello scultore Luigi de Luca (1855-1938), in: Napoli nobilissima, 2017, Bd. III, S. 100-115.Vgl. Attualità artistiche, in: Roma artistica, Rom 1871, Bd. 1, Nr. 6, S. 46. (1390979) (13)Leopoldo Ansiglioni,1832 – 1894GALATEA (GALATÉE), 1882Base: 30 x 73 x 52 cm.Sculpture: 50 x 80 x 38 cm.Signed on one of the bronzes “GALATEA LEOPOLDO ANSIGLIONI ROMA 1882“.The sensual depiction of the nymph Galatea reclining on a dolphin is the most popular work by Italian sculptor Leopoldo Ansiglioni. The artist made three monumental works, but also this smaller version, in which the marble is decorated with gilt bronze.Notes:A larger version is held at the University of Greenwich, London and in the Chi Mei Museum, Taiwan; another at Hearst Castle in San Simeon, California.

Willem van den Broeck, zug.1530 – 1579/80ANATOMISCHE BRONZE-STANDFIGUR DES HERKULESHöhe: 45 cm. Gesamthöhe inkl. Holzsockel: 53 cm.Bronzeguss, dunkle Patina. Auf runder, mitgegossener Plinthe, mit angewinkeltem rechten Bein an einem Baumstumpf, über den das Fell des Nemeischen Löwen, den er besiegt hatte, mit Löwenhaupt gelegt ist. Ein Teil des Fells mit Pfote zieht am linken Bein zum Boden. Der Kopf gesenkt, der Körper zeigt die Muskulatur offen, ein manieristischer Effekt, der dem Interesse an medizinisch-biologischen Erkenntnissen des 15. und 16. Jahrhunderts entspricht, seit Künstler wie Michelangelo oder Leonardo sich heimlich in Leichenhäusern der Anatomie gewidmet hatten. Die Figur entspricht weiteren Ausführungen, so etwa in Terrakotta, wie ein Exemplar im Kunsthistorischen Museum, Wien zeigt. Der Bildhauer ist zudem bekannt u. a. für drei Statuen in der Liebfrauenkathedrale in Antwerpen, wo er 1557 bereits Freimeister der Lukasgilde wurde. Ein Alabaster-Relief, „Kalvarienberg“, befindet sich im Louvre, ein „Garten Eden“ in Brüssel.Literatur: Vgl. Broeck, Guillaume van den, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Bd 14, München u. a. 1996. (1390213) (11)Willem van den Broeck, 1530 – 1579/80, attributedANATOMICAL STANDING BRONZE SCULPTURE OF HERCULESHeight: 45 cm. Total height incl. wooden base: 53 cm.Bronze casting with dark patina. On a round, cast-in plinth. Hercules´ right leg bent on a tree stump, over which the skin of the “Nemean lion”, which he had defeated, is laid with the lion´s head. The figure corresponds to other versions, for example in terracotta, as an example held at the Kunsthistorisches Museum in Vienna shows. Among other things, the sculptor is also known for three statues in the Cathedral of Our Lady in Antwerp, where he became a free master of the Guild of Saint Luke in 1557. An alabaster relief, Calvary, is held at the Louvre and a Garden of Eden in Brussels.

A composition bronze effect sculpture of a panther, 40cm wide, in a fitted case.

Bronze Sculpture, the young writer, bronze cast with fine hand finish, polished, on white marble base, French mid of 19th century, 27 cm high.

Chinese Sculpture, man on water bull, bronze cast engraved with original patina, 19th century, 13 x 18 cm.

Pejac (Spanish 1977-), 'Ahab', 2016, limited edition bronze sculpture, incised with the artist's signature and numbered from an edition of 3; 50 x 80 x 40cmARR 50 x 80 x 40cm In very good condition/artist's condition No visible knocks, chips or cracks to the sculpture Markings can be seen along the length of the sculpture, these are the artists intention and from time of production, not considered damage. Some minor surface scratches to the base of the sculpture, potentially from time of production. No apparent issues.

Nicolas TIMAR (1939) 'Revolving sculpture' polished bronze. Signed Timar XXIIIDimensions: (H:16,5 x D:14 cm)

Rachid Khimoune (1953)Sans titreBronze à patine verte antiqueSignéH. 14 cm - L. 9 cm - P. 9 cmA bronze sculpture signed by Rachid KhimouneThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After Edward Onslow Ford, English, R.A., 1851-1901, Dancing, a bronze of a half nude figure wearing a slip flowing skirt and studded head-band, the circular tapering base inscribed Onslow-Ford, 80.5cm high overall, the figure - 64cm Footnotes: Note: Born in Islington, London, Onslow Ford originally trained as a painter at Antwerp Academy, 1870, but turned to sculpture while studying at Munich, 1871-4. Amongst his many public commissions are the statues to General Gordon, Chatham (1890, repeated at Khartoum, 1904) and Queen Victoria, Manchester (1901). A close associate of Alfred Gilbert (1854-1934), and a contributor to the New Sculpture movement, he exhibited busts, statuettes and genre pieces at the RA from 1875, and was elected ARA, 1888, and RA, 1895.  Originally conceived as a pendent to 'Music', 1890, the figure in 'Dancing' wears a large ornamental headdress with two wings.  It was illustrated in the 1890 edition of the Magazine of the Art and later exhibited at the Fine Art Society in 1902.  A life-size cast of the work, without headdress is in the Lady Lever Art Gallery, Liverpool.  The current lot is a reduction of this sculpture and forms part of an extended series of bronze statuettes of adolescent girls in poses loosely derived from mythology or allegorical themes which includes 'Folly', 'Peace', The Singer', 'Applause' and 'Echo'.

After Michelangelo, a bronze model of The Young Slave, 20th century, 17cm highProvenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Footnotes: Note: The present lot is after Michelangelo's original marble sculpture dateable to around 1525-30 and is part of the "unfinished" Prigioni, along with The Awakening Slave, Bearded Slave and Atlas Slave, intended for the tomb of Julius II.

A large Italian bronze mortar, Veneto, 17th century, of Renaissance style, cast with twin human head side handles and satyr masks, with coats-of-arms displaying a pair of bells and an oak tree within laurel garland, with borders of foliate swags and leaves above and below, 33.5cm high, 38cm diameter Provenance: Sotheby's Old Master Sculpture and Works of Art, 7 December 2010, Lot 65.Related Literature: Peta Motture, Bells and Mortars: Catalogue of Italian Bronzes in the Victoria and Albert Museum, p. 96-193, for a discussion and catalogue of other North Italian examples of bells and mortars. 

λ Demetre Chiparus (1886-1947) Les Amis de Toujours (Friends Forever)patinated bronze and ivory on a veined brown onyx base,incised Chiparus to base,28.5cm. high29cm. widePlease note this item has Ivory Registration no. 8N1FWVHS ProvenancePrivate collection. LiteratureAlberto Shayo Chiparus, Master of Art Deco, Antique Collector's Club, page 87 figure 14 for a comparable sculpture illustrated.

A silver sculpture: Frankel Winning the 2000 Guineas. Charlie Langton, London, 2016. *ARRThe limited edition sculpture depicting Frankel at full stretch, galloping up the final straight to win the 2000 Guineas at Newmarket in 2011, the horse modelled mid-stride, with front legs raised, the off hind flat to the ground and the near hind lifting off, the flat and polished rectangular silver base signed Charlie Langton, 2015, 1/3, raised on a shallow rectangular bronze baseplate, base 11.1cm wide, 100.5cm long, sculpture 39.5cm high. Footnotes: This impressive sculpture of Frankel winning the 20000 Guineas by Charlie Langton is a limited edition (1/3) in sterling silver, and is currently the only one of its kind in existence today (at the time of auction the remaining two editions have not been produced). It was commissioned by The Osborne Studio Gallery in 2016 at the request of Juddmonte (the international thoroughbred horse racing and breeding enterprise founded by the late Prince Khalid bin Abdullah). The sculpture depicts the Juddmonte-owned Frankel winning the race by an unprecedented margin, a feat symbolised by the metre-long base. The victory was described as ‘one of the greatest performances in British horseracing history’ and earned Frankel a place in racing’s history books.This sculpture is of particular significance since Charlie Langton is one of only two sculptors ever to have been granted access to sculpt Frankel. In studying the 10-time Group One winner for this work, Charlie observed Frankel closely, noting that he had a unique stride length and cadence to his gallop, which enabled him to cruise effortlessly past his rivals. He sought to convey this quality in this sculpture, which shows Frankel at full stretch as he galloped up the finishing strait at Newmarket to win by six lengths. Charlie explains that his ‘ambition with every work is to sculpt the character, the presence, the movement and the likeness of the horse so that fleeting spark of excitement, passion and beauty can endure’. Frankel Winning the 2000 Guineas captures the spirit and power of a legendary horse and an iconic moment in racing history.Charlie Langton has sculpted many of racing’s greatest equine stars including Sadler’s Wells, Montjeu, Galileo, Goldikova, Giant’s Causeway, Fastnet Rock and Yeats. His works can be seen at racecourses across the UK – including a life-sized bronze of Yeats in the parade ring at Ascot – and are held in numerous private collections. In 2017 he completed a 20% over life-size mare and foal for Newmarket Racecourse, which was given to Her Majesty The Queen by His Highness Sheikh Mohammed and Her Highness Princess Haya and The Newmarket Commemoration Committee. A smaller bronze maquette (1 of 12 by Langton and Etienne Miller) of the life-sized sculpture sold at Tattersalls in 2022 for a six-figure sum. In the summer of 2023 Charlie received a very special commission from Queen Elizabeth II to sculpted her beloved Fell pony, Emma. Important commissions by Charlie Langton: A bronze sculpture of Emma for Queen Elizabeth II.A bronze sculpture of Nevis for the Duchess of York.A bronze sculpture of Stradivarius for Bjorn Nielson.Kempton Park Racecourse: a 5% over-life size bronze of Kauto Star.Ascot Racecourse: a 10% over life-size bronze of Yeats at Ascot Racecourse.Commission for HM the Queen’s 90th Birthday, Newmarket, : a 20% over life-size bronze of Mare and Foal.  The Jockey Club, Newmarket: a 1/3 life-size bronze of Long Run Jumping with Sam Waley-Cohen. The Investec Epsom Derby Trophy. Condition Report: The London Assay Office recorded the silver weight of this sculpture as 7700g. Please note that this does not include the weight of the bronze baseplate. 

A Victorian lacquered bronze sculpture of a hand, modelled with a foliate cuff and a signet ring, mounted to a rectangular plaque, unsigned, 13 x 8cms.

After the Antique: The Dying Gaul, patinated bronze, raised on a marble base, 31 x 17 x 17cms high.Notes: The Dying Gaul, also called The Dying Galatian or The Dying Gladiator, is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost sculpture from the Hellenistic period (323-31 BC) thought to have been made in bronze. The original may have been commissioned at some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.Until the 20th Century the marble statue was usually known as The Dying Gladiator, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. However, in the mid-19th Century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's torc, thick hair and mustache, weapons and shield carved on the floor, and a type of Gallic carnyx between his legs

Mark Richard Hall (British, b. 1970) - A patinated bronze sculpture of a plum, modelled on the stem, with a curved broad leaf, impressed makers monogram to underside, 10cms long.

A patinated bronze sculpture of a Viking warrior, 20th century, modelled with sword raised on rearing horse, indistinctly signed in the cast, set to a lozenge shaped slate base, 27.5cm high overall

PIERRE JULES MENE (1810 - 1879), bronze sculpture of a Greyhound on a marble base, stamped 'Mene', 29cm high

PIERRE JULES MENE (1810 - 1879), bronze sculpture of a Greyhound on a marble base, stamped 'Mene', 29cm high

After Alfred Barye (France, 1839-1882), a bronze sculpture of a mounted Arab on his horse and modelled on a naturalistic and veined black marble base. 72cm high approx. (B.P. 21% + VAT)

Large and impressive bronze sculpture of a charging bull , on circular naturalistic base. Unsigned. 60cm high, 75cm wide approx.(B.P. 21% + VAT)

Y SEAN RICE (1931-1997) A Prophet (?), welded bronze and copper figure sculpture on square base, unsigned, 32 1/4" high (Illustrated) (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Very good

Y SEAN RICE (1931-1997) Male Mythical Figure, welded bronze and copper sculpture on square base, unsigned, 30 1/2" high (Illustrated) (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Very good.

A classical Italian signed cast metal sculpture on a marble plinth. A late Grand Tour patinated bronze 'Nike', signed 'Fonderia Artistica Sommer, Napoli'. H74cm Condition Report: Weathered verdigris bronze, on weathered stone plinth, Nike's staff is bent, surface marks. The base is chipped on the front left hand corner.

A green-patinated bronze abstract sculpture of geometric shapes (cube, sphere and pyramid), 9.5 cm high, raised on marble block plinth, unsiage, 19.5 cm high overall

An antique brown bronze sculpture after Giambologna of Fortuna, raised on a relief cast circular base, 68 cm high overall

William Timym - A sculpture of a leopard, resin bronze by Hereditives Century Collection no 49/100 on a grey plinth base, 25 cm high

Charlotte Jackson - A verdigris patinated bronze sculpture of a reclining woman, 42 cm long

Hilda McDowell Seligman (1882-1964), 'Innocence', a scarce brown bronze sculpture of a seated young girl, signed (twice) and dated '19, 22 cm long x 19 cm h, the marble version of this sculpture is held in the collection of the Kirklees Museum & Galleries

Michel Leonard Beguine (1855-1929), a brown bronze sculpture 'Le Printemps' (Allegory of Spring), late 19th century, signed, raised on a stone plinth, 101 cm h o/all

DON KEN "Flight Attempt D.K.09" Sculpture in bronze, signed and numbered 6/50. with certificate of the artist. Dim : 54 x 24 x 23 cm.

After François Pompon "Polar Bear" Sculpture in bronze, signed and numbered 18/37. Posthume Bronze. L : 43 - B : 15 - H : 25 cm (with foot)

Igor TCHOLARIA  "The Music Flies" Bronze sculpture signed and numbered 9/30 and the stamp of the foundry, with red patina. With certificate of the Artist. Height: 40 cm. Base diameter: 16 cm

Figure of a Crusader, a cryselephantine bronze sculpture, face and hands in ivory, painted sword and shield, French, 19th/20th C., wear on the painting, GREMION - probably Charles Gremion (19th/20th C.). Notes: a) This lot is subject to CITES export/import restrictions and is duly certified: nr 23PTLX11426C; b) Several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle; c) In Portugal, according to the forecast transposition into the Portuguese legislation of the more recent EU guidance document concerning ivory commerce, the issuing of reexport certifications for non EU countries is suspended; d) We therefore advise potential buyers to inform themselves in advance on the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - 43 cm

Mark Hopkins, bronze sculpture, "Body and Soul", limited edition 102/750, with certificate, 25cm high

An Orientalist group cold painted viennesse polychromed bronze sculpture by Franz Bergman from The Escape of Egypt in the Bible. A nomad leads a camel mounted with a beautiful odalisque and her child. Artist: Franz BergmanDimensions: 6.5"L x 6"W x 10.5"HCountry of Origin: AustriaCondition: Age related wear.

Original bronze sculpture with a black marble base made with patinated and rough surfaces by Italian sculptor Nico Venzo who left traces of his tools in the material. It depicts a seated young girl with one hand holding her head in a moment of repose. Carved in back of statue: Nico Venzo. Artist: Nico Venzo (Italian b. 1938)Issued: c. 1980Dimensions: 8"L x 8"W x 14.50"HCountry of Origin: ItalyCondition: Age related wear.

Large alloy sculpture of a standing woman with wings who holds a flower wreath above her head and a cherub by her side. Patinated with bronze coloring. Issued: c. 1990Dimensions: 9"L x 9"W x 19"HCondition: Age related wear.

Large original bronze sculpture with a dark green marble base after French Art Deco sculptor Louis Icart who has depicted a semi nude dancer who holds the folds of her dress with her raised hands. Her body is heavily patinated in a golden tone to contrast with the green patinated dress. Carved in a front fold: Louis Icart. On lower right of the bronze base: Paris France. Artist: Louis Justin Laurent Icart (France 1888-1950)Issued: c. 1970Dimensions: 12.50"L x 7"W x 21"HCountry of Origin: FranceCondition: Age related wear.

Laszio Kutas (1936 - 2023) Hungary bronze sculpture of a young girl seated on a chair, limited edition 32/100, signed to base, together with certificate, height 17cm approx.

Rachel Talbot (British 1980-), Water Meadow Merriment, limited edition bronze sculpture, modelled as a hare in boating attire, upon a polished marble base, H37cmCondition Report: hat a/f

Antique miniature bronze sculpture of a fighting dog looking at a snail, unsigned. Height 37mm. In good original condition.

A contemporary bronze Japanese style sculpture of a frog and a lizard on a bamboo cane, marks to underside, 16.5cm long.

After Étienne-Maurice Falconet (1716-1791): " La Baigneuse", A Bronze Figure of a Bather 89cm highFalconet exhibited the original marble sculpture at the Paris Salon of 1757.

Caddie, Jeune (1890 - 1919), Golfspieler / "de Golf Sculpture", Bronze, auf ovalem Sockel,H. ca. 18 cm. Altersspuren.

Tibet 17./18. Jahrhundert Bronze Buddha, bronze hinduism deity sculpture,Bronze, Tibet 17./18. Jahrhundert, auf Lotussockel, Sockel mit Holzstück gefüllt, H 6,5 cm x B 4,5 cm x T 2,5 cm, AbriebProvenienz: Vormals Privatsammler und Unternehmer aus Rheinberg NRW, Erbschaft als Nachlasspflegschaftsverfahren durch die Rechtsanwaltskanzlei in Moers als bestellter Nachlasspfleger beauftragt vom Amtsgericht Rheinberg.

A large cast bronze sculpture of a wild boar, length 31cm, marked to the underside "Korniluk", and a second smaller cast bronze sculpture of a wild boar, likely by the same hand, (2).

Jon Buck (b. 1951) - 'Simply a Pig', a limited edition (3/6) bronze sleeping pig, 1984, incised signature and number beneath, 49cm long a 14cm highSee https://jonbucksculpture.com/wp-content/uploads/2013/03/making-a-point.pdf (page 5) for a matching example.Jon Buck studied at Nottingham and Manchester Art Schools. He was a Fellow in Sculpture at Cheltenham College of Art and is a Member of the Royal West of England Academy and a Fellow of the Royal Society of British Sculptors. Buck has completed many public commissions including for Canary Wharf in London, West Quay Centre, Southampton and Portishead Quays.

A late 20th Century bronze sculpture of a semi nude female, set on a wooden plinth base. Unmarked. 46cm high

A bronze sculpture of a nude male figure, possibly Roman. Height 7cm. Together with another bronze figure, height 12.75cm, and five other assorted metal sculptures of animals (7).

Margaret Lovell D.LITT D.F.A. F.R.B.S. R.W.A. (Born 1939) - 'Omaha Evening', polished bronze sculpture with black slate base, numbered 3/9, length 27cm.

Basil Matthews - A later 20th Century cast bronze sculpture of an Old English sheep dog, signature to underside and retains label, length 13cm.

Duncan MacGregor (Born 1957) - 'Catching the Wave', bronze sculpture with black marble base, numbered 99/150, relief initials to the bronze base, complete with certificate of authenticity, boxed, height 59cm.

Sylvie Fleury (1961), "283 Chevy", sculpture en bronze chromé et socle en béton, édition Venturi Arte, Bologne, signée et numérotée 4/4, cachet de fondeur, 71x45x70 cm (hors socle) et 60x70x80 cm (socle)Provenance: Galerie Thaddaeus Ropac, Salzburg, décembre 2012Note: Le poids du socle est de 300 kilosLA COLLECTION D'UN AMATEUR D'ART CONTEMPORAIN Tous les lots marqués en rouge dans le catalogue papier, lots 44 à 60 de la vente à la criée et 1925 à 2012 de la vente online, proviennent de la collection d’un amateur d’art contemporain ayant résidé à Genève. Participant activement à la vie artistique de Genève, ancien membre du Centre d’Art Contemporain, il a constitué au fil des années une importante collection avec une sensibilité particulière pour les artistes contemporains africains dont certains figurent aujourd’hui parmi les noms les plus reconnus. Tous les lots de cette collection sont mis en vente sans prix de réserve.

Prometheus Bound and the Oceanids‘, sculpture by Greek sculptor Constantinos Paleologos (1939-) after Eduard Muller. This sculpture is of the titan Prometheus and features an eagle and swooning nudes at his feet, painted to look like patinated bronze, height 73cm, W33cm, with signature in Greek to the base 'K. Paleologos', mid 20th century. Condition: restorations to the right hand side of the eagles' wing and the base of the sculpture.

A group of bronze, porcelain and resin horse and dog sculptures to include Dr Robert Taylor for Franklin Mint - Poised for Glory, a bronze horse sculpture, My Friend Flicka by Pamela du Bouley for Franklin Mint, Thoroughbred Bust - Cotswold Studio Arts, a resin model of a horse's head on plinth and a contemporary bronze model of a spaniel mounted on a black marble base, Location:

λ&nbspFREDERICK EDWARD MCWILLIAM (BRITISH 1909-1992) UMBILICUS STUDY Bronze Signed and numbered 3/5 Height: 24cm (9¼ in.)Conceived in 1977.Literature: Roland Penrose et.al., McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.110 (illustration of another cast) Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, cat. no.450, p.165 (illustration of another cast)

λ&nbspDORA GORDINE (ESTONIAN 1895-1991) STANDING FEMALE DANCER Bronze with green patina Signed and numbered 2/6 to the base Height 65cm (25½ in.) 'If people really want to know me, let them look at my sculpture, because words are not my medium at all. It is sculpture that is my medium.' Dora GordineDora Gordine's Standing Dancer captures the movement and elegance of the female form. Gordine explored themes of motherhood and womanhood through her bold, strong and yet feminine sculptures, usually cast in bronze. Gordine was initially influenced by a group of artists in her homeland Estonia coined 'Noor Eesti' who followed the concepts and ideals of the Art Nouveau movement. In 1924, Gordine relocated to Paris and was immediately encapsulated by the rich French culture frequently visiting the multitude of galleries, operas and museums.In 1925, Gordine worked for the British Pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris, as a mural painter. This opportunity provided her with the means to start producing bronze sculptures again and Gordine went on to exhibit her works at the Beaux Arts Society and the Salon Des Tuileries in 1926 where she presented a head and torso sculpture of a Chinese philosopher which was met with great acclaim. Back in London in 1928, the Leicester Galleries held Gordine's first solo show, which proved to be a great success; all of the pieces selling including one to Samuel Courtauld. In 1936, Dora married the Hon. Richard Gilbert Hare and together they built Dorich House in Kingston Vale which doubled up as their home to showcase their personal collection of Russian Art and furniture but also her studio to create and display her sculptures. Through her husband's connections Gordine became immersed within London's fashionable elite. Figures such as Sir Kenneth Clark, Dame Beryl Grey and Professor Frederick Brown, head of the Slade School of Art all jumped at the opportunity to sit for Gordine. The present lot signifies Gordine's approach to sculpture, she felt sculpture was a tool to depict not only identifiable features but capture the vision of a sitter. The figure stands poised, caught in a moment of movement oblivious to the onlooker. 'You have to imagine what they are like inside and bring out their inner feeling and then put it in a form.' Dora Gordine, BBC Interview, 1972   Condition Report: Light surface dirt throughout otherwise appears to be in good original condition. No obvious evidence of restoration or repair. Condition Report Disclaimer

Bronze effect erotica sculpture, L: 33 cm. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)