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20th c. bronze sculpture of a reclining erotic nude lady on marble base

Mackenzie Thorpe There's Nana, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in the late 1950's into humble beginnings, that era's customary career path was in the shipyards and industry of the area and upon leaving school at 15, Mackenzie Thorpe followed this predetermined path. Unhappy and feeling like a fish out of water, he kept creating, until his passion for drawing compelled him to forge his own path. Against all the odds he gained a place at his local art college before completing a degree in fine art in London in 1982. In 1989 he opened a gallery in Richmond, North Yorkshire and eventually his work (and popularity) went from strength to strength, his work being championed by William Hague MP. In the mid 1990's, he was signed up by an American art publisher who helped launch him in the United States, Japan, Australia, and New Zealand. Since then, he has continued to create distinctive artwork and exhibits both in the UK and internationally. In recent years Mackenzie has devoted time to developing bronze sculpture, with these unique and distinctive pieces now enhancing private gardens and homes, with larger scale works being commissioned for international businesses and hospitals. He is currently developing new work for an exhibition in 2024, at the Umm El Fahem Gallery in Israel which is aimed at uniting the diverse cultural and social relationships in this area. Commenting he said, 'as a British man I'm honoured to have been invited to exhibit at this prestigious gallery which aims to build peace and tolerance through art. It feels like a huge responsibility but using art as a kind of third language, as I do, allows my art to connect to people irrespective of age, gender, nationality, race etc, so whilst it is a challenge, I am excited'. Education Byam Shaw School of Art, BA fine art, London, UK 1979 -1982   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Mackenzie Thorpe What Ever It Takes, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Born in the late 1950's into humble beginnings, that era's customary career path was in the shipyards and industry of the area and upon leaving school at 15, Mackenzie Thorpe followed this predetermined path. Unhappy and feeling like a fish out of water, he kept creating, until his passion for drawing compelled him to forge his own path. Against all the odds he gained a place at his local art college before completing a degree in fine art in London in 1982. In 1989 he opened a gallery in Richmond, North Yorkshire and eventually his work (and popularity) went from strength to strength, his work being championed by William Hague MP. In the mid 1990's, he was signed up by an American art publisher who helped launch him in the United States, Japan, Australia, and New Zealand. Since then, he has continued to create distinctive artwork and exhibits both in the UK and internationally. In recent years Mackenzie has devoted time to developing bronze sculpture, with these unique and distinctive pieces now enhancing private gardens and homes, with larger scale works being commissioned for international businesses and hospitals. He is currently developing new work for an exhibition in 2024, at the Umm El Fahem Gallery in Israel which is aimed at uniting the diverse cultural and social relationships in this area. Commenting he said, 'as a British man I'm honoured to have been invited to exhibit at this prestigious gallery which aims to build peace and tolerance through art. It feels like a huge responsibility but using art as a kind of third language, as I do, allows my art to connect to people irrespective of age, gender, nationality, race etc, so whilst it is a challenge, I am excited'. Education Byam Shaw School of Art, BA fine art, London, UK 1979 -1982   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Europa. Polen. Nowakowski, Jerzy. Bronzeschachspiel. “Kompozuyist Rzezbinarskia P.T. Szachy“ [Skulptur Assoziation Schach]. Schachfiguren mit Schachbrett aus Bronze. Die eine Partei ist hell die andere dunkel patiniert. Originales Klebeetikett auf der Unterseite des Schachbretts: Arbeit von Jerzy Nowakowski aus dem Jahr 1991. Höhe König 5 cm; Bauer 3 cm. Größe Brett 30 x 31 cm. (56) * Kompletter Figurensatz mit passendem Schachbrett. Nuancenreich. Im Stil des Künstlers gearbeitete Schachfiguren, die in die vertieften Spielfelder des Schachspiels passen. Zustand: Mit benutzungsbedingten Alterungsspuren und kleineren Defekten. Versandgewicht 18 Kg. Interessantes Schachspiel. / Europe. Poland. Nowakowski, Jerzy. Bronze chess set “Kompozuyist Rzezbinarskia P.T. Szachy" [sculpture association chess]. Chessmen with chess board made of bronze. One side has a light patina, the other has a dark patina. Original adhesive label on the underside of the chessboard: Work by Jerzy Nowakowski from 1991. King height 5 cm; pawn 3 cm. Board size 30 x 31 cm. Complete chess set with matching chess board. Nuanced chess pieces crafted in the artist's style to fit into the recessed playing fields of the chess set. With usage-related signs of aging and minor defects. Shipping weight 18 kg. Interesting chess game

A patinated bronze sculpture of a lizard inscribed indistinctly "JWPTRI71/H + 25%", 11½ x 8in. (29.2 x 20.3cm.) x 3½in. (8.9cm.) high.

Miguel Ortiz Berrocal,Spanish 1933-2006,Torso Leon (Opus 407), 1994; bronze sculpture with green-brown patina, incised signature and inscription '14/149',dimensions: 19 x 22 x 10 cm, (ARR)

A 20th century Chinese cast bronze sculpture of a seated Emperor wearing an ancient emperor's hat. The figure wearing engraved detailed robe with dragon and clouds and incised dragon chair on a base. Measures approx. 21cm tall including the base. All lots in this auction are part of a private collection of antiquities and later effect, mainly collecting Roman, Viking, Egyptian and Asian antiques. The collection having been amassed over a 30-40 year period. The items in the auction has been purchased at various auction, private collections and museums over the years.

A 19th century Chinese / Japanese bronze maroon cold painted monk / man figure, sculpture with bamboo hat. Slight damage to the right hand wrist, possibly lacking a piece from the carrying pole. Measures approx. 20cm tall.   All lots in this auction are part of a private collection of antiquities and later effect, mainly collecting Roman, Viking, Egyptian and Asian antiques. The collection having been amassed over a 30-40 year period. The items in the auction has been purchased at various auction, private collections and museums over the years.

Lynn Chadwick R.A. (British, 1914-2003)Two Reclining Figures stamped and numbered 'CHADWICK 72 643S 1/6' (on the back of the male figure)bronze with a black patina and polished faces on a granite base80.1 cm. (31 1/2 in.) long (excluding the base)Conceived in 1974 and cast in 1986Footnotes:ProvenanceSale; Bonhams, London, 29 November 2005, lot 120, where acquired by the family of the present ownersPrivate Collection, U.K.LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.276, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.284, cat.no.643SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.291, cat.no.643STwo Reclining Figures by Lynn Chadwick exudes a relaxed aura, resting partly on their sides with the male and female figures joined at the thighs so that the sculpture is one, substantial unit, heightening their sense of togetherness. There is an intimacy inherent in this piece which is difficult to locate in Chadwick's sculptures from the 1950s and 60s and a sense of privacy that we feel as the passing viewer. The male, positioned behind, lifts his right thigh and hip as if he may be about to envelop his partner in a protective and tender moment. The gentle and naturalistic modelling of the female's torso and breasts recalls Chadwick's slightly earlier Elektra I (1968) but here only the faces are polished to give a sleek and shiny surface. The present work rejects the rougher more primitive finish of his first major figure group, The Watchers (1960). The female contrasts most effectively with the more rigid, angular planes of her partner. He is less rounded and voluminous, and the two exquisitely complement one another. It is likely the couple are simply sunbathing, raising their necks so that their faces, at right angles to their bodies, are fully exposed to the rays of the sun they are apparently worshipping. Two Reclining Figures was made shortly after Chadwick and his wife Éva established their own foundry, at Lypiatt Park, Gloucestershire. With Éva by his side, and looking after the business side of his profession, Chadwick emerged out of a period of debt in the 1960s into one with more financial stability. His international reputation had long been secured, and with the luxury of his own foundry from 1971 the sculptor was able to scrutinize the accuracy and quality of the casting process.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Frank Dobson RA (British, 1886-1963)Reclining Nude Figure signed 'Dobson' (on the top of the bronze base); stamped with estate stamp and numbered '1/5' (on the back of the bronze base)bronze with a black patina on a slate base50.8 cm. (20 in.) wide (excluding the slate base)Conceived circa 1928 in terracotta, and cast in bronze in 1997Footnotes:ProvenanceWith Gillian Jason Gallery, London, 19 May 1999, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Fine Art Society, Frank Dobson: Sculptor 1886-1963, 20 June-7 July 2012, cat.no.14 (the terracotta cast)LiteratureNeville Jason, The Sculpture of Frank Dobson, Henry Moore Foundation in association with Lund Humphries, London, 1994, p.135, pl.74 (the plaster cast)Robert Upstone and Neville Jason, Frank Dobson: Sculptor 1886-1963, The Fine Art Society in association with Gillian Jason, London, 2012, p.40, cat.no.14 (col.ill., the terracotta cast)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Elisabeth Frink R.A. (British, 1930-1993)Leonardo's Dog II signed, inscribed and stamped with foundry mark 'Frink A/C' (on the outside of the right rear foot)bronze with a brown patina101.6 cm. (40 in.) highConceived in 1992, an Artist's Cast aside from the edition of 6Footnotes:ProvenanceDame Stephanie Shirley, by whom gifted to Paintings in HospitalsExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.86 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.191 (ill.b&w, another cast)Annette Downing, Elisabeth Frink 1930-1993, Sculptures, Graphic Works, Textiles, exh.cat., Salisbury Festival, 1997, pp.27, 71, cat.no.86 (SC58) (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.188, cat.no.FRC396 (ill.b&w, another cast)'Frink's dogs are an excellent example of the way in which she managed to remain a popular, communicative artist at a time when the visual arts, sculpture in particular, were becoming increasingly esoteric.' (Edward Lucie-Smith).It is true, as Edward Lucie-Smith comments, that Frink's large and imposing Leonardo's Dog II resembles the attractive Hungarian gun-dog breed of Vizslas; although the sculptor maintained they were not based on any one particular breed. The droopy ears, rounded nose and raised eyebrows lend the dog an inquisitiveness and friendliness which is also conveyed in her maquette for the present work. However, the author also notes:'It would have been easy to sentimentalize subject-matter of this type, and transform it into something unbearably kitsch. It says much for Frink's talent, and for her temperament – her attitude towards the natural world – that she was able to avoid this trap. Her avoidance of it is perhaps the more remarkable considering that some dogs she depicted are scarcely out of puppyhood.' (Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.19).As is often the case with Frink's animal sculptures the idea for representing the dog was established early on in her career, during the formative years of the 1950s. In one particular bronze, Blind Beggar and Dog (1957) the animal is used in a protective role, leading its helpless master forward in search of money. The dog's legs have been attenuated in much the same way as her other bronze, Dog from the same year, so that the creature takes on the appearance of something more wild, like a jackal perhaps. Revisiting the subject 35 years later this comforting idea, of protection, had not left Frink; the title of the present work was inspired by the stone dogs which guard and protect the entrance to the Chateau de Cloux near Amboise, Leonardo da Vinci's home when he died in 1519. Again, the dog is there to serve, ever faithful, but in this instance depicted in a far more domesticated fashion, one which is more accessible to the viewer and representative of the animal she is working from.It is difficult to appreciate when looking at a photograph of Leonardo's Dog II just how solid and three-dimensional the sculpture is. There is a 'presence' and weight attached to the work which Lucie-Smith has likened to the monumentality of War Horse for Chatsworth. Only upon walking the complete way around the sculpture can the viewer engage and appreciate the power behind this alert beast. Its vaguely rendered and over-sized paws serve to fix the seated dog to its chosen location, whether indoors or outside, and the lack of modelling to the surface emphasizes the vastness of the dog. Created in the penultimate year of her life, Leonardo's Dog II is a fitting tribute to Frink's love affair with all types of animals over a four decade long career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Robert Adams (British, 1917-1984)Fissure signed, numbered and dated 'ADAMS/1/6/1973' (underneath)bronze with a dark brown patina, part polished35 cm. (13 3/4 in.) highFootnotes:ProvenanceWith Gimpel Fils, London, where acquired byRyda and Robert H. LeviTheir sale; Christie's, Geneva, 7 July 2016, lot 82, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Gimpel Fils, Robert Adams, 29 May-22 June 1974, cat.no.17 (another cast)New York, Gimpel & Weitzenhoffer Gallery, Robert Adams, 17 September-5 October 1974, cat.no.19 (another cast)LiteratureAlastair Grieve, The Sculpture of Robert Adams, The Henry Moore Foundation in association with Lund Humphries, London, 1992, p.233, cat.no.619 (ill., another cast)This work is recorded as Opus 352.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dame Elisabeth Frink R.A. (British, 1930-1993)Rolling Over Horse signed 'Frink' (on the rear right leg)bronze with a dark brown patina38.9 cm. (15 1/4 in.) wideConceived in 1976, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceAcquired directly from the artist by the family of the present ownerPrivate Collection, U.K.ExhibitedWashington, D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawing 1950-1990, 1990 (another cast)LiteratureSarah Kent and Bryan Robertson, Elisabeth Frink, Sculpture: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.186-7, cat.no.233 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, The National Museum for Women in the Arts, Washington, D.C, 1990, p.65 (another cast)Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.135, cat.no.FCR262 (ill.b&w, another cast)Dame Elisabeth Frink's sculptures of horses are amongst her most commercial and instantly recognisable motifs with her appreciation of these powerful animals dating back to the earliest work of the 1950s. However, the highest acclaim is reserved for her equine subjects completed between 1969 and 1985, of which Rolling Over Horse (1976) is one. Speaking in reference to this celebrated period, Julian Spalding comments that 'Frink's animals came to feature more and more not as tortured harbingers of terror, but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease...This is Frink at her most relaxed. She knew everything about horses and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head' (Julian Spalding in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Emerging in force during the late 1960s and conceived as both singular entities and with riders, they are largely the result of Frink's time spent in the Camargue region of France, renowned for its semi-wild horses and rugged landscape. Upon returning to England in 1973, shortly before the present work was conceived, the artist continued to explore and develop the horse theme within her work. As with many of the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question rather than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal'. That spirit is clearly demonstrated in the present work, whereby the horse moves with grace, free from human constraint, visible from different angles and positions in a sumptuous brown patina.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Lynn Chadwick R.A. (British, 1914-2003)Cloaked Figure IX signed with initial and numbered 'C 770 1/6' (on the side of the figure's cloak)bronze with a black patina185 cm. (73 in.) highConceived and cast in 1978Footnotes:ProvenanceThe Artist, from whom acquired directly by the family of the present owner circa 1978, and thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Marlborough Fine Art, Chadwick Recent Sculpture, February-March 1978, cat.no.33 (another cast, ill.); this exhibition travelled to Zurich, Marlborough Galerie AG, April-May 1978Witley Court and Ragley, Jerwood Foundation (this cast, long-term loan, 2001-2011)Wakefield, Yorkshire Sculpture Park (this cast, long-term loan, 2012-2023)LiteratureArt International, Vol. 22/3, March 1978, p.49 (another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.320, cat.no.770, (ill.b&w, another cast)Sarah Chadwick (intro.), (exh.cat.), The Sculptures at Lypiatt Park, London, Blain Southern, 2014, pp.66, 94, cat.no.66 (col.ill., another cast)Michael Bird, Lynn Chadwick, Farnham, 2014, p.155, cat.no.7-3 (col.ill., another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.328, cat.no.770 (ill.b&w, another cast)Dennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.334, cat.no.770 (ill.b&w, another cast)Lynn Chadwick's impressive Cloaked Figure IX encapsulates much of the artist's mature style and illustrates his increasing focus on the use of garments to dress and add dynamism to his figures. First suggested in his 1950s sculptures, in the Teddy Boy and Girl series, he moved to add ever more dramatic clothing as his work matured, leading to the billowing cloaks of the 1970s. Experimenting with the motif of the voluminous, blown cloak, as seen in his Jubilee sculptures, Chadwick created many variations on this, including with the fabric streaming out behind, swept to one side and, in the case of the present work, 'falling from the shoulders in ceremonial amplitude' (Michael Bird, Lynn Chadwick, Lund Humphries, Farnham, Surrey, 2014, p.156).Here, the female figure is shrouded in a long, draping cloak, the positioning of which lends the figure a sense of grandeur, and also of mystery. She seems to be a powerful, all-seeing presence, stately in her pose and inscrutability. As is typical with Chadwick, her female features are indicated only by the suggestion of her breasts and a triangular, block-like head, but she also seems imbued with a gracefulness that is particularly feminine. Her face is, as always, blank, with Chadwick once famously declaring 'no expression is an expression' (Lynn Chadwick: The Couple, exh.cat., Pangolin, London, 2011, p.3). He looked to body language as a more useful device for conveying attitude than facial features, which could be limiting. As ever with Chadwick, his ability to tell us so much with an incredible economy of form is notable.The angularity of Chadwick's style is writ large in this sculpture, and accentuated by the folds of the cloak. Chadwick studied closely the weight and properties of different fabrics and seems to have chosen for the present work one which hangs particularly heavily, with a weight that suggests ceremonial robes. Instead of flowing, curving fabric, we have grooved, geometric lines that accentuate the sharp posture of the shoulders and the strong stance of her legs, which are just visible. The addition of the cloak is also important in that it suggests movement, trailing as she seems to move silently forwards. Although the stance of her body appears apparently to be still, the flowing length of her cloak seems caught in movement, with dynamic ripples indicating her passage through the space. It is as though she walks among us with slow and considered steps, gliding past. As Chadwick explained, 'The important thing in my figures is always the attitude – what the figures are expressing through their actual stance. They talk, as it were, and this is something a lot of people don't understand.' (Lynn Chadwick, quoted in Edward Lucie-Smith, Chadwick, Gloucestershire, 1997, p.31). The mid-1970s brought about a subtle change in his approach to depicting the figure. As Michael Bird has written, ' 'Presences' was how he referred to his new figure sculptures; they were about being, not doing: 'I used to call them Watchers, but no longer. Sometimes they are not watching anything. What they are doing is illustrating a relationship – a physical relationship – between people'. It was through this relationship, not through purely formal or allusive qualities, that he wanted his sculptures to speak: 'If you can get their physical attitudes right you can spell out a message'' (Michael Bird, op. cit., p.147). Although Cloaked Figure IX is a single figure and not depicted, as so often in his work, with a male counterpart, her presence is undoubtedly a powerful one. Created as she is on a monumental scale, standing 185cm high, her full attitude cannot in fact be understood from one fixed viewpoint, but must instead be appreciated by walking around, taking in the full majesty of her flowing robes. Chadwick is thus encouraging the viewer themselves to actively interact with her stately, commanding presence, as though bearing witness to her regal procession, by ironically having us do the walking. Cloaked Figure IX was acquired directly from the artist by the family of the present owner, and has been enjoyed in this private collection for many years. It has also been exhibited publicly, both with the Jerwood Foundation at Witley Court and Ragley, and also most recently among the rolling hills of Yorkshire Sculpture Park. Number one from the edition of six, its appearance on the market is an exciting opportunity to acquire a monumental example of Chadwick's work, which is of museum quality.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.Photography © Jonty Wilde, courtesy of Yorkshire Sculpture Park.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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

Reg Butler (1913-1981)Woman in Stays signed with monogram and numbered '7/8' (on the top of the base); inscribed with foundry mark 'Susse Fond. Paris' (to the back of the base) bronze with a brown patina55.2 cm. (20 1/2 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, U.S.AExhibitedLondon, Hanover Gallery, Reg Butler, May-June 1957, cat.no.33 (another cast)LiteratureMargaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Much Hadham and Aldershot, 2006, p.149, cat.no.174, RB151 (ill.b&w, another cast)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A bronze sculpture by Yves Lohe of a couple dancing raised on a circular plinth, signed 'Lohe', 39.5cm high Location:

Jean Walwyn (American, b.1925) a bronze sculpture of a steeple chase, modelled as two horses and jockeys jumping a fence, set to a lozenge shaped onyx plinth, signed in the cast, with applied plaque for 'The Daily Express Triumph Hurdle Race', 22cm high

French bronze sculpture of a cavalier on horseback, late 19th Century, height 57cm, length 44cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

Jose Cardona (1878-1923), Haut en Bas! bronze sculpture of a boy with hands in pockets, signed, titled to the base, height 30cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

A BRONZE RUSSIAN SCULPTURE, INDISTINCTLY SIGNED AND NUMBERED

Unusual bronze sculpture of African lumber jacks chopping down a tree. 40cm high approx. (B.P. 21% + VAT)

ROBERT GLEN (American, b. 1940) limited edition (4/6) bronze - camels drinking from a trough, signed and dated 1986, 39h x 48w x 31.5cms d, on black marble plinth.Provenance: private collection PembrokeshireAuctioneer's Note: Born in Kenya in 1940, Robert Glen’s interest in art and natural history began at an early age. At sixteen years old, he was accepted to serve an apprenticeship in taxidermy at the renowned studio of Coloman Jonas in Denver, Colorado. It was then that his interest in sculpture was born. Returning home after three years of training, he began a transition from taxidermy to sculpting animals in the European tradition of animaliers, working in various media before casting his first bronze in 1970. Since then, Robert Glen’s work has met with great success. His sculptures reside in many private collections including those of the late Queen, the Aga Khan, and the late Kenyan President Jomo Kenyatta. He has also held many one man shows in the USA, Canada, UK, Monte Carlo, Spain and South Africa. Robert Glen's public commissions include one of the largest equestrian sculptures in history, 'Mustangs of Las Colinas', in Texas.Comments: natural verdigris patina, very good overall.

A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A pair of Empire ormolu and cut-glass surtout de table by Pierre-Philippe Thomire (French, 1751-1843)Paris, early 19th centuryWith hand cut hobnail glass bowls on lappet and acanthus leaf cast supports terminating in lion paw feet on a plinth base, both signed THOMIRE A PARIS to the plinth, the glass bowls associated, 21.5cm wide, 21.5cm deep, 31cm high (8in wide, 8in deep, 12in high) (2)Footnotes:Pierre Philippe Thomire, fondeur-ciseleur, was the foremost bronze maker at the time of Napoleon the First.For a comparable pair of ormolu and cut-glass tazze made by Pierre-Philippe Thomire see Christie's, London, Important European Furniture and Sculpture, 6 December 2007, lot 111.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

ARR Laurence Broderick MRBS FRSA (born 1935), Teko Maquette V, a bronze sculpture of a swimming otter, limited edition 14/50 with artists brochure, 22cm wide x 23cm high22.5cm highCondition good

Contemporary bronze horse racing sculpture, three horses and riders over a fence, rectangular base with canted corners, 70x36cm, height 45cm. Condition report:Some spots of surface dirt/ debris. No heavy scratches. The raised crop is bent out of shape a little. The casting is a little crude.

A Cold Cast Bronze Sculpture After Paul Gayrard Modelled By M.Deca 'Recumbent Deer Hound' Signed, 15.5cm Long

Roman Bronze Sculpture of a male god in standing position full bronze cast with original patina and verdigris , old repair on the feet , possibly 2.-3. Century A.C, on later wooden base . Total high 21,5 cm

Donatello (1386-1466)-follower, David with the head of Goliath, large bronze sculpture, cast with original patina, hand finished, 95 cm high

French Sculpture Mid of 19th Century, Le Bonheur Nait de la Vertu, bronze cast with original patina, very fine hand finishes, on ebonized wooden base, 53 x 51 cm

Anonymous, bronze sculpture of an angel, possibly by Jits Bakker 1937-2014, 25 cm high

Signed Karinti 2/8, bronze sculpture of a seated figure, 23.5 cm high

Mali XIXem siècle Sculpture d'Ancêtre en position debout Style Dogon, Mali Bronze patiné H. 38 cm

THAILANDE - XIXe siècle Grand BOUDDHA esquissant le bhumisparsa mudra Épreuve en bronze patiné, socle à gradins en bois, décoratif H. 67 cm - L. 51 cm (hors socle) Le Bouddha est représenté assis, les jambes croisées en posture de méditation dite virasana. La position de ses mains indique que le Bouddha est représenté en train de prendre la terre à témoin, (bh?mispar?a-mudr?). Il comporte certaines des caractéristiques physiques majeures, dites laksanas, qui lui sont traditionnellement conférées : lobes d'oreilles distendus, cou marqué de trois plis, et la coiffe haute unisha, symboles de sa noblesse et de son illumination. Son vêtement proche du corps, porté sur l'épaule gauche, vient également souligner ses formes harmonieuses. Le traitement de la sculpture rappelle le style de la statuaire du XIVe siècle.

A bronze sculpture of a face on solid marble base. H: 40cm W: 27cm D: 15cm

A solid bronze detailed sculpture of a fisherman on a solid black marble base.. H: 46cm W: 16cm D: 21cm

This hand cast bronze art sculpture of a skater stands just under 4ft high. Great detail throughout and has a highly polished finish. H: 108cm W: 118cm D: 75cm

This heavy modern minimalist sculpture has been cast from bronze and sits on a black marble base standing approx 21 inch high.. H: 54cm W: 53cm D: 16cm

This modern minimalist sculpture has been cast from bronze and sits on a black marble base.. H: 85cm W: 22cm D: 19cm

A large abstract bronze mouse sculpture

19th century bronze sculpture of mastiff type dog in seated pose on black marble base. Base 18 x 14.5cm. Dog 14cm wide height 9cm. In condition with some wear to base commensurate with age.

Antique Japanese Meiji period Bronze sculpture of a tiger. [20cm in length]

Two antique African Tribal Bronze Benin sculpture; Bust and seated musician [Bust-17cm high]

Small and Heavy Chinese Bronze Rhino figure/ sculpture. Stamped to base. [6.5cm high]

Small and Heavy Chinese Bronze Mouse figure/ sculpture. Stamped to base. [9cm in length]

A 19th century bronze altar temple sculpture depicting an Indian dancing deity. The god figure four armed, holding conch shell and balancing a person's body on the lower two arms in an act of healing. With bird finials to the arch around the figure and two miniature seated gods alongside. The piece with evidence of having originally been cold-painted red. Measures approx. 32cm x 16cm x 13cm.

After Pierre Jules Mene (1810-1879) - a late 19th century bronze mantle-piece sculpture of two springer spaniels. One dog sat upright and the other reclining. Signed Mene to the back. Measures approx. 21 x 28cm. 

After Auguste Moreau - an early 20th century French bronze sculpture of a nude woman. The woman holding her hair back and sat open legged. Signed to base Moreau. Measures approx. 20cm tall. 

Franz Bergman - an early 20th century Austrian cold painted bronze sculpture depicting a nude slave and slave trader clutching a whip. Signed with Bergman marks and Namgreb to the base. Measures approx. 17cm long and 15cm tall.

A large cast bronze eagle probably by Chris Schiller of Colorado: an award winning wildlife artist and sculptor. Indistinct casting mark on base. The sculpture shows an eagle with outspread wings guarding an eaglet in the nearby nest (modelled on the base). Very good condition Width: 88cms Maximum height: 39cms Diameter of base: c.19cms Width of base: 27cms (For office use only: additional main photo needed)

Gorgeous vintage Venetian Murano art glass sculpture with gold, bronze and yellow-colored flecks. Issued: 20th CenturyDimensions: 9.5"L x 5"W x 13"HManufacturer: Murano GlassCountry of Origin: ItalyCondition: Age related wear. Repaired, glued back to base.

Gorgeous vintage Venetian Murano art glass sculpture with gold, bronze and yellow-colored flecks. Issued: 20th CenturyDimensions: 8'L x 4.5"W x 12"HManufacturer: Murano GlassCountry of Origin: ItalyCondition: Age related wear.

TWO CHINESE SCHOLAR'S ROCKSQING DYNASTYBoth with wood stands, together with a flat iron sculpture and a stand, and another piece in bronze modelled as breaking waves, 42cm max. (6)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022).

A bronze sculpture, head of Christ, titled verso 'The Agony'. Indistinctly signed. 5¾" high.

1970s modernist bronze sculpture, signed 'SD 76', mounted on a black marble base, 32cm high

Thailand, bronze partly gilded sculpture of reclining Ganesha, ca. 1900; With four arms and fine crown, on lotus throne. l. 49 cm [1]

Tibet, bronze sculpture of four-armed Tara, 20th century, holding various attributes and wearing ornate robes and jewellery h. 77 cm [1]

Thailand, a bronze sculpture of a seated Buddha, 20th century. with green patina. L. 87 cm. [1]

European bronze sculpture depicting a putti or baby boy. Affixed to a gilt bronze base decorated with flowers and fruits. The base with small cartouches depicting low-relief scenes of putti or cherubs.(Including Base) Height: 20 in x width: 14 3/4 in x depth: 10 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Auguste Moreau (French, 1834-1917). Bronze sculpture titled "Torch Boy" depicting a young boy or putti holding a torch while a smaller figure follows behind. Incised signature along the base. Affixed to a wooden base with a plaque.(Not Including Wooden Base) Height: 16 1/4 in x width; 10 1/2 in x depth: 6 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.