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ALBERT HINRICH HUSSMANN (1874-1946) BRONZE HORSE AND RIDER SCULPTURE, signed, 60cm L x 50cm H.

Doug Hyde Artist's Proof bronze sculpture - First Date 6 of 10 UK edition in original box with COA - Approx height: 22cm

A bronze sculpture of the flying horse of Gansu . Signed to the inside. [16cm high]

A Lot of Asian Bronze and brass collectables. Includes antique bronze elephant, African bronze worked mother and baby figure, Chinese turtle sculpture and two Bronze Indian animal sculptures.

A Selection of Bronze and Brass collectables to include Bronze tri leg stand designed with puma heads and claw feet. Bronze horse sculpture, Bronze Rabbie Burns plaque, Stain glass Rabbie Burns plaque and two Gilt brass/ bronze lion paperweights.

A Selection of antique bronze and brass sculptures to include bronze renaissance paperweight plaque, Bronze nude sculpture, Brass fox head, Napolean sculpture and gilt brass/ bronze.

Bronze sculpture of a horse rearing. Fitted upon a black slate base. [37cm high]

Bronze sculpture of a figure huddled up. Together with a bronze/ copper brutalist sculpture. Signed 'N' [19CM HIGH]

Small Bronze Sculpture of a Hare by Florence Jacquesson

Bronze cavalier solider sculpture on a base, H: 54 cm. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

VIVIANE BRICKMANNE (Belgium, 1957)."Mutant V", 2019.Patinated bronze. Copy 1/7.Enclosed certificate issued by the artist.Work cast in Sphinx Foundry.Signed and justified on the base.Measurements: 87,5 x 15 x 24 cm.Brickmanne began her exhibition career in 2003, participating in various group exhibitions. Since then he has participated in various national and international exhibitions, both as a group and solo artist, including: group exhibitions at AAF New York in 2013, Art Santa Fe, at the Gaudí Gallery in South Korea, at AAF, Hamburg in 2014, at Feriarte in 2017, at SumArte at the Ateneo de Madrid in 2018 and at Studio Lisboa in Portugal in 2018, among others. Individually she has shown her work at the Belgian pavilion in Zaragoza in 2008, at the Atalante gallery in Madrid in 2011 and at the Hotel Hisperia in 2017. She has been awarded several prizes in recognition of her work, including the trophy for the Plus es más awards, Bayard editions, the Cara al viento prize from the Belgian and Luxembourg Chamber of Commerce in Spain and the Spanish-Dutch forum and the First Primavera Sculpture Prize from the International Association for the Arts. His works have also been published in the magazine Plaform Prees, April 2000, the magazine Plus es mas in 2012 and the project on conservation of contemporary sculpture. Study of the sculpture Eurydice for the Faculty of Fine Arts, Complutense University of Madrid. 2014.

JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Sidero 268. 1958.Iron sculpture.Signed.Size: 85 x 170 x 15 cm.Thanks to his uninterrupted participation in the October Salon from 1949 to 1957 and his subsequent period in Belgium (where he lived from 1954 to 1956), Josep Maria Subirachs gained public recognition for his work. From that moment on, he understood the possibilities of being able to make a living from his work, becoming a professional sculptor. He began to experiment with language, moving from expressionism to expression and becoming interested in iron. During this same period - around 1958, the year our piece was made - he worked with other materials (such as stone, bronze and wood, among others), trying to highlight the plastic qualities of their varied colours, structures and textures.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 José María Subirachs entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he showed his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founded, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returns to Spain, and in 1958 he is awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in various Spanish cities, as well as in Lisbon, Geneva, Antwerp, Brussels, Taipei, Chicago, Paris, New York, Zurich, Stockholm and Copenhagen, among others. His awards include the Ynglada-Guillot Drawing Prize (1966), the San Martín Prize (1971) and the Medal of Merit in the Fine Arts (1988). In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He has participated in the main international biennials, such as São Paulo, Venice, Havana, Antwerp, Cairo, Alexandria, Lausanne and Budapest. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.

A Tom Greenshields bronze sculpture entitled 'Merry', 15 x 9 x 5".Is Bronze ont bronze resin.

After Alexsander Danel for Austin Sculpture - A large late 20th Century Art Deco style bronze effect resin sculpture depicting a nude stylized female figure raised on an ebonised base. Unmarked. Measures approx; 74cm x 44cm x 15cm.   

Tim Cotterill / The Frogman (b.1950) - Frog, 2015 - A contemporary painted bronze worked sculpture finished in pink and black. Signed and dated to the underside. Limited edition 429/1000. Measures approx; 4cm x 10cm. 

Tim Cotterill / The Frogman (b.1950) - Big Fins, 2003 - A contemporary painted bronze worked sculpture finished in yellow and black. Signed, dated and titled to the underside. Limited edition 579/2000. Measures approx; 17cm x 26cm.  

Tim Cotterill / The Frogman (b.1950) - Frog, 2009 - A contemporary painted bronze worked sculpture finished in purple and black. Signed and dated to the underside. Limited edition 3303/5000. Measures approx; 5cm x 7cm.

Tim Cotterill / The Frogman (b.1950) - Frog, 2014 - A contemporary painted bronze worked sculpture finished in yellow, orange and green. Signed and dated to the underside. Limited edition 302/2000. Measures approx; 5cm x 6cm. 

Tim Cotterill / The Frogman (b.1950) - Frog, 2012 - A contemporary painted bronze worked sculpture finished in red and black. Signed and dated to the underside. Limited edition 1185/2000. Measures approx; 14cm x 12cm. 

Tim Cotterill / The Frogman (b.1950) - Frog, 2015 - A contemporary painted bronze worked sculpture finished in yellow and black. Signed and dated to the underside. Limited edition 707/1000. Measures approx; 5cm x 9cm. 

Tim Cotterill / The Frogman (b.1950) - Big Fins, 2003 - A contemporary painted bronze worked sculpture finished in blue, green and black. Signed, dated and titled to the underside. Limited edition 511/2000. Measures approx; 16cm x 31cm.

Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble and bronze.It has an 18th-century base.It has faults, restorations and losses.Measurements: 49 x 80 x 31 cm.Italian cabinet from the 17th century, decorated with hard stones. It is a rectangular piece of furniture that stands on a base in the form of a smooth moulding. The front is divided into three sections separated by a column (the other is no longer preserved) of marbled marble, in Ionic order, with gilded bronze capitals and bases. The side sections, consisting of drawers, are decorated with mouldings, plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, contains a gilt-bronze sculpture of a young man holding a lyre, which suggests that it is a representation of the god Apollo. The sides of the cabinet are considerably simpler in decoration, although in the same style and with the same proportions. The decoration consists of recesses made up of inlaid fillets, combining different geometric shapes inscribed in rectangles. It should be noted that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of chromatic and quality contrasts. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.

Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble, bronze and silver.It shows faults, restorations and losses.Measurements: 49 x 74 x 32 cm.High quality and beautiful piece of furniture with the interiors made of wood. The front is divided into three sections separated by columns of marbled marble, of Corinthian order, with capitals and bases in gilded bronze. The side sections, made up of drawers, are decorated with mouldings, brass plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, houses the gilt-bronze sculpture of an adult man leaning on a staff, which could be a representation of the god Asclepius, who in classical mythology was considered to be the god of medicine. The ornamentation of the piece of furniture goes beyond the front, as both the sides and the upper part have a geometrically structured fillet that serves as ornamentation. In addition, the base also has an aesthetic finish based on a profuse relief on the front in laceria and a central border depicting the figure of two animals facing each other. It is worth noting that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of contrasting colours and qualities. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.

A bronze sculpture in the form of a weeping mermaid, 16cms high.

A 19th century solid bronze sculpture of a crouching human figure with a griffin head and feet, 19cms high.

EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047519.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures worked in various levels of relief, some of them even approaching the round figure. It is a representation of a group of nymphs and fauns, embracing and playing, their bodies confused by Arnau's soft modernist forms.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a disciple of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own studio in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the 1888 Barcelona Universal Exhibition, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.

EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047518.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures and other motifs worked in various levels of relief, some of them even approaching the rounded bulk. It depicts a medieval princess being pursued by a dragon that appears crawling in the lower area, under the body of which the skull of one of its victims is visible. Between the two figures is that of a knight in armour and helmet, wielding a sharp sword with which he threatens the monster.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a pupil of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own workshop in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the Universal Exhibition of Barcelona in 1888, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.

Pair of early 20th century lamp feet.Patinated bronze.Measurements: 41 cm (sculpture) + 10 cm (base).Pair of ornamental sculptures conceived as lamp bases, cast in bronze, representing two warriors raising a light, that of the lamp, in the manner of victory. They are Herculean figures, with a Michelangeloesque heritage, which reveal the influence of 19th century realist sculpture in their conception.

EMMANUEL FONTAINE (Commercy, France, 1856-1935)"Soldier".Bronze sculpture.Signed E. Fontaine.Size: 67 x 36 x 27 cm (with base).Emmanuel Fontaine, is a French sculptor.Active in the Montparnasse district, he was a pupil of François Jouffroy, Alexandre Falguière, Antonin Mercié and Louis Noël at the École des beaux-arts de Paris. He exhibited medallions and busts at the Paris Salon from 1877 to 1882. His sculptures received different mentions over the years, the most important being: an honourable mention in 1887, a third class medal in 1893, a second class medal in 1896, a silver medal in 1900, and a first class medal in 1904.He was made a Knight of the Legion of Honour in 1910 and was classified out of competition in 1922.The bronze statue of his Monument to Jacques Boucher de Perthes, erected in the Place du Pilori in Abbeville in 1907 and unveiled in June 1908, was demolished by the German occupiers during the Second World War.Prisca Hazebrouck preserves in the work The Reclining Lovers, a bronze burial located in the cemetery of the Abbeville Chapel ("the most astonishing monument in the cemetery") and representing "lovers holding hands", side by side, drawn by Emmanuel Fontaine with expressive and peaceful features: "A barely sketched smile hovers on the lips of the young woman who turns her head slightly towards her husband". If it is established that the concession was bought in 1866 by the Abbevillois Adolphe Masse, the total absence of any mention of the burial for this site, the absence of any inscription on the burial, make it a monument where beauty is allied with mystery.

Ancient Egyptian god Osiris, Late Antique, 664-323 BC.Bronze.Provenance: Private Spanish collection.In good state of preservation. It presents a lack in the lower part at the back of the sculpture.Measurements: 13.2 cm (height).Round statuette representing the God Osiris carrying the Heka and the Nekhakha. The god is standing, with his arms crossed over his chest and a series of characteristic elements, such as the Atef crown (a more complex typology of the white crown which is made up of two ostrich feathers, sometimes with two horns at its base, uraeus and a solar disc. It is depicted in yellow and was thought to help the deceased to be reborn, an attribute for which it is carried by the god Osiris). The piece also has its arms crossed over its chest, with which it holds the whip and the callado, which are two of its main iconographic symbols. Osiris is the Egyptian god of resurrection, associated with the fertility and regeneration of the Nile, protector of vegetation and agriculture. He also presides over the court of judgement of the dead, and is in fact closely associated with the Afterlife. He was considered the first-born son of Geb, divinity of the earth, and the goddess Nut, representation of the sky. He was therefore the brother and husband of Isis, with whom he had a posthumous son, Horus. We find him for the first time in the sources of the 5th Dynasty, although it is most likely that he was worshipped much earlier. In fact, we find the epithet Khenti-Amentiu ("leader of the Orientals", alluding to his role as king of the Beyond) already used in the 1st Dynasty, both in relation to divinity and as a pharaonic title. The most valuable information about Osiris is found in the Pyramid Texts of the late 5th Dynasty, the Shabaka Stone of the New Empire and, much later, in the texts of Greek writers such as Plutarch and Diodorus.

Japanese Bronze Sculpture, boxed with paperwork, depicting a model of a cow 8'' x 3'' and calf 2.5'' x 2''.

VIVIANE BRICKMANNE (Belgium, 1957)."Small Egyptian head".Patinated bronze. Exemplary 2/25Signed on the lower back.Measurements: 22 x 16 x 9 cm.Of Belgian origin, Viviane Brickmanne, lives and works in Madrid. She graduated in Philosophy and Letters at the University of Louvain. In fact, this classical, literary and poetic training was a conceptual influence in her first figurative sculpture. In which the concept of air and space was a premise that he later developed in his winged figures and in works of a more abstract nature where ascending lines always prevail. This content can also be seen in his "Mutants" sculptures, which represent stylised young women trying to escape from the earth and take flight towards an unattainable freedom, as their metallic or vegetable wings keep them anchored to the ground. Underlying these works is the idea of fragility and disintegration. He has worked with different techniques, among which bronze stands out. Aluminium and brick where he sometimes incorporates leaves or decomposing pomegranates. Thus counterposing an organic element with a manufactured one, and at the same time the concept of the feminine with the masculine.Brickmanne began her exhibition career in 2003, participating in various group exhibitions. Since then she has participated in several national and international exhibitions, both as a group and solo artist, including group exhibitions at AAF New York in 2013, Art Santa Fe, Gaudi Gallery in South Korea, AAF Hamburg in 2014, Feriarte in 2017, SumArte at the Ateneo de Madrid in 2018 and Studio Lisboa in Portugal in 2018, among others. Individually she has shown her work at the Belgian pavilion in Zaragoza in 2008, at the Atalante gallery in Madrid in 2011 and at the Hotel Hisperia in 2017. She has been awarded several prizes in recognition of her work, including the trophy for the Plus es más awards, Bayard editions, the Cara al viento prize from the Belgian and Luxembourg Chamber of Commerce in Spain and the Spanish-Dutch forum, and the First Primavera Sculpture Prize from the International Association for the Arts. His works have also been published in the magazine Plaform Prees, April 2000, the magazine Plus es mas in 2012 and the project on conservation of contemporary sculpture. Study of the sculpture Eurydice for the Faculty of Fine Arts, Complutense University of Madrid. 2014.

CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008)."Kyros Horse".Patinated bronze, copy 219/275 CE.Signed and justified.Size: 38 x 30 x 9 cm.In this sculpture Mata works with the basic forms that were constant in his work: objects, people and animals reduced to their essence and silhouettes of pure lines. It is precisely this purity that makes the warmth of the texture of the bronze shine even more brightly, competing in prominence with the shape of the piece itself. Mata's production includes stylised and elegant figures of horses and bulls, inspired by his childhood and youth. Mata chooses materials such as iron or bronze for many reasons, among them the plasticity he demonstrates in adapting to the original hand-worked model, reflecting the warmth of manual work with its arid, irregular, rough surfaces, which invite one to touch, and also with its fluid, smooth, rounded-edged crevices.A sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. His most recent exhibitions include those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylisations of a certain primitivism and archaeological evocation, generally taking animals, such as bulls or horses, as their subject. The same schematic intention can be seen in his painting, of a neo-figurative, planist type with a contained and reduced chromatic range.

A Napoleon III garnitureComprising of clock and pair of five branch candelabraGilt and patinated bronzeClock surmounted by sculpture depicting a writerGilt bronze dial of Roman numberingCandelabra of reliefs decoration with snakes, putti and foliage motifsFrance, 19th century(untested movement, signs of wear) Height: 68 cm (candelabra)60x39x21 cm

A bronze sculpture of a greyhound head (55)

Ancient Roman bronze sculpture depicting a nude Venus with certificate from "Pax Romana - London" || OUD ROMEINSE RIJK - 100 tot 200 sculptuur in brons met de voorstelling van een naakte vrouw : "Venus" - hoogte : 12 cm met certificaat van "Pax Romana - London"

small 1st till 4th Cent. Ancient Rome phallus sculpture in bronze - possibility to get a certificate || OUD-ROMEINSE RIJK - 1° tot 4° EEUW kleine amuletsculptuur in brons met een fallusvorm - lengte : 6,5 cm - gemonteerd mogelijkheid om een certificaat te bekomen

pair of Art Deco book-ends in marble each with a bronze Monkey sculpture || Paar Art Deco-boekensteunen in brons en marmer telkens met een sculptuur met aapje - hoogte en breedte : 17 en 14,5 cm - ca 1930

early 21st Cent. Dutch sculpture in bronze with dark brown patina - with the monogram of Natasja Benninck and dated 2001 || BENNINK NATASJA (° 1974) (NL) sculptuur in brons met donkerbruine patine n° Epreuve d'Artiste 1 getiteld : "De eisprong" - ca 73 x 54 x 45 cm gemonogrammeerd en gedateerd 2001 met oorspronkelijk aankoopcertificaat twv 14.000 euro bij Galerie Van Campen & Rochtus in 2013

pair of Art Deco book-ends in marble each with a bronze "Birds on a branch" sculpture || Paar Art Deco-boekensteunen in marmer en brons, telkens met een sculptuur in de vorm van vogeltjes op een tak - hoogte en breedte : 12 en 15,2 cm - ca 1925/30

late 20th Cent. Belgian sculpture in bronze with green patina - signed Michael Bracke and dated (19)96 with certificate || BRACKE MICHAEL (° 1962) sculptuur in brons met groene patine : "Adelaar met prooi (haas)" - 66 x 55 x 70 cm getekend en gedateerd (19)96 met certificaat

3th/2nd Cent. BC Ancient Egyptian "Hapocrates" sculpture in bronze with certificate - provenance : collection 'J. Cornelis'-Brussels || OUD-EGYPTE - PTOLEMAÏSCHE PERIODE (3° - 2° eeuw BC) kleine sculptuur in brons met de voorstelling van "Harpocrates - hoogte : 9,4 cm met certificaat uit de vroegere collectie "Cornelis" uit Brussel

antique Japanese bronze Monkey sculpture || Antieke Japanse bronzen sculptuur: "Zittende aap" - hoogte : 21,5 cm

small antique "Buddha" sculpture in bronze || Kleine antieke sculptuur in brons : "Zittende Boeddha" - hoogte : 14,5 cm

20th Cent. Belgian sculpture in bronze on a marble base - signed Frans Heirbaut || HEIRBAUT FRANS (° 1948) sculptuur in brons : "Man met snor" - hoogte : 33 cm - op marmeren sokkel getekend

20th Cent. Belgian sculpture in bronze - signed René Julien || JULIEN RENÉ (1937 - 2013) sculptuur n° HC 4/8 in brons : "Cellospelende dame" - hoogte : 25 cm getekend

antique Chinese Qing dynasty "Lohan" sculpture in bronze || Antieke Chinese bronzen sculptuur Antieke Chinese bronzen sculptuur (hoogte : 70 cm) : "Lohan", gezeten in meditatieve houding met de benen gekruist en met open handen, met een half geschoren hoofd, de overige haren in krullen bijeen. Lohan is de Chinese vertaling van het Sanskriet woord "Arhat", hetgeen betekent "zij die horen" . Naast de "boeddha's" en de "bodhisattva's" worden in het boeddhisme ook nog de "vooraanstaanden" of "heilige mannen" vereerd. Zij danken hun heilige status aan het bereiken van "bodhi", de verlichting. Na diverse reïncarnaties hebben zij elk verlangen overwonnen maar zijn nog het nirvana niet binnengegaan. In China vormen de bekendste Lohan een groep van 18, waaronder enkele belangrijke discipelen van de historische boeddha en diverse historische verdedigers van het Chinese boeddhisme

pair of most probably French Art Deco book-ends in marble and bronze each with a Greyhound sculpture || Paar allicht French Art Deco-boekensteunen in marmer en brons met een sculptuur : "Windhond" - hoogte en breedte : 19,5 en 10 cm - ca 1925/30

A late 19th century Japanese bronze sculpture, modelled as a man holding his left arm aloft, 48cm high.

GREGORY PERCIVAL (BRITISH 1964-), 'TALLY-HO', A BRONZE SCULPTURE IN TRIBUTE TO BATTLE OF BRITAIN PILOTS,produced June 2017, a limited edition sculpture signed and numbered 011 of 25 examples, commemorating The Battle of Britain's Spitfire pilots Douglas Bader, Alan Smith, Johnnie Johnson and Hugh 'Cocky' Dundas, incorporating four 'lost wax' polished cast bronze sculptures of the RAF Supermarine Spitfire MkIIa fighters, 18cm wingspan, taking to the air peeling off in formation from RAF Westhampnett at the Goodwood airfield in July 1941 with Wing Leader Bader's 'Dogsbody' Spitfire leading the way, the base formed from moulded polished glass clear resin representing the flowing flight trails, measuring approximately 72 x 46 x 35cm overall, offered with Certificate of Issue from the artist. (2)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

Louis Lejeune, a patinated bronze sculpture of a Guide Dog on slate base, length 15cm

After the Antique, modern bronze sculpture of the Farnese Hercules, after the Roman original, brown painted patination, height 30cm

French bronze miniature Marly horse sculpture, after Coustou, mounted on a Belgian slate plinth, height 14cm

Walter Awlson (20th Century), The young virtuoso violinist, limited edition bronze finish ceramic sculpture, numbered 35/50, signed, height 68cm

EUGÈNE MARIOTON (France, 1854 - 1933)."Enamoured".Sculpture in patinated bronze.Signed.Size: 93 x 36 x 27 cm.Eugène Marioton's style is characterised by a notable classicism in the forms. His figures are based on the solid French neoclassical and academic tradition, as can be seen in this group made up of a couple of young lovers. Both are dressed in clothes that evoke the classical, Greek and Roman world. The young man wears a short tunic, while the maiden is dressed in a delicate tunic whose folds reveal the underlying anatomy, following the technique of the "wet drapery". The forms are slender and notably idealised, and both figures are placed on a base that evokes, with a few plant elements, an idyllic, archaic setting.A French sculptor and medallist born in Paris, Eugène Marioton was a pupil of Auguste Dumont, Gabriel-Jules Thomas and Jean-Marie Bonnassieux. He was also the brother of the sculptor Claudius Marioton and the painter Jean-Alfred Marioton. He worked in both sculpture and medallistics, and was a regular participant in the Salon de la Société des Artistes Français in Paris, where he was also a member of the jury in 1905. In the last two decades of the 19th century, Marioton was awarded a bronze medal at this exhibition in 1882, a third-class medal in 1883 and a second-class medal in 1884 (in the same year he won a second-class medal in the first Mr Willemsens competition). He was also a laureate in the class of Dumont, first prize in the competition of the Société Libre des Beaux-Arts for his marble bas-relief "Hero et Leandre", and in the same year he received a scholarship from the Conseil Général de la Seine. He took part in the Universal Exhibition in Paris in 1889 with the bronze group "Les frères d'armes", a year after winning a travel grant in the Prix de Rome competition. He was also awarded the Prix Desprez in 1890, and at the Universal Exhibition in Paris in 1900 he was one of the artists who represented the thirty-six participating nations in the form of 2.5 m high figures with his work "Mineur belge". Works by Eugène Marioton are now in the Louvre, the Musée des Beaux-Arts in Rouen, the National Museum of Romania and other public and private collections.

VICENT DÉSIRÉ FAURE DE BROUSSE (Paris, 1876-1908)."Young warrior with child in his arms".Sculpture in patinated bronze.Signed on the front.It has a dent on the base.Measurements: 93 x 40 x 37 cm.French sculptor, pupil of Jules Salmson in Paris, Vicent Desiré Faure de Brousse participated in the Paris Salon from 1876 to 1883. He was known for his figurative sculptures influenced by the Florentine Renaissance. This fact is demonstrated by the work we now present, in which the youth, hair and morphology of the young warrior could well be related to Andrea del Verrocchio's David. Thus, while Verrocchio's statue shows the young David, the future king of the Israelites, in a triumphant pose with the severed head of Goliath at his feet, our warrior also rests his leg, resolutely and with a certain pride, on a stony mound. His stocky thigh supports a child who is playing with the young man's spear.

A bronze sculpture of a couple, signed JP and numbered 38 of an edition of 195, rich brown patina polished in places and green at the base, on black marble base, 29cm h Good condition

A bronze semi-naked dancer figural bookend and a bronze sculpture of a finch on a stump, 20th c, bookend 15.5cm h Good condition

A bronze statuette of a young woman, on polished stone base, 44cm h and a bronzed metal sculpture of a semi naked young woman seated on a rock (2) Good condition

Oudine. An Art Deco bronze sculpture of a huntress holding a spear, green patina rubbed in places, on polished slate base, 33.5cm h, stamped BRONZE, base engraved Oudine Good original condition, patina slightly scratched and dirty in places, small shallow chip on one top corner of base