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Ruffino Besserdich - late 19th century bronze sculpture of a faun being chased by geese, signed. 19cm.

Berthold Schiwetz (1909 - 1971) Bronze Sculpture. Signed along side. Height: 6 in.

Berthold Schiwetz (1909 - 1971) Bronze sculpture of angel looking down. Signed on wing. Height: 10.25 in.

Bruno Luna (Mexican, b. 1963) "Chef" Bronze Sculpture Signed and numbered (1/50) on base. Dimensions: 12 x 9.5 x 6 in.

Bruno Luna (Mexican, b. 1963) "Waitress" Bronze Sculpture Signed and numbered (X/XXX) on base. Dimensions: 10.75 x 8 x 6.25 in.

Bruno Luna (Mexican, b. 1963) "Gentleman" Bronze Sculpture. Signed and numbered (VI/XXX) on base. Dimensions: 11.75 x 6.5 x 5 in.

Bruno Luna (Mexican, b. 1963) "Las Tres Desgracias" Bronze Sculpture Signed and numbered (9/50) on base. Dimensions: 9.75 x 10 x 6 in.

Heavy bronze sculpture of a boxer dog. Signed Mene. Sat upon a marble base. [27x30x16cm]

Heavy cast bronze semi nude Repunzel style lady sculpture. [20cm high]

Contemporary solid bronze ballerina figurine sculpture. [35cm high]

Thailand Bronze Buddha Bhumisparsha Mudra, bronze buddhism sculpture,Bronze, Buddha im Lotussitz in Bhumisparsha Mudra, H 31 cm x B 19,5 cm x T 14,5 cm, Altersspuren, Abrieb, "Lotus-Blüte" lose

Bronze Skulptur großer stehender Otter, bronze standig otter sculpture,Bronze, keine erkennbare Signatur, stehender Otter, H 32 cm x B 16 cm x T 21 cm, Gewicht 3,5 kg

AFTER EDOUARD SIENARD (FRENCH), bronze sculpture of a standing ewe and lamb, signed, 18cms highProvenance: private collection Carmarthenshire, consigned via our Cardiff Office

KOSTKA VASE,25.5cm high, along with an art glass charger, 34.5cm wide and a bronze seated sculpture (3)

(1881 Haynau - 1946 Internierungslager Teplitz/Teplice) nach"Weihe", auch betitelt "Kniende"Bronze, dunkel patiniert. Bez.; Posthumer, zeitgenössischer Guss, Ende 20./Anfang 21. Jh., nach einer um 1920 geschaffenen, in Holz und wohl auch in Stein geschaffenen, kubistischen Skulptur des Bildhauers. 1915 stellte Herzog erstmals in Herwarth Waldens "Sturm-Galerie" in Berlin aus und gehört danach zu dessen favorisierten Bildhauern - 1919 zählte er ihn neben Alexander Archipenko und William Wauer zu den bedeutendsten Bildhauern. Nach dem I. Weltkrieg schloss sich Herzog der Novembergruppe an, 1919-1933 war er regelmäßig in der Großen Berliner Kunstausstellung vertreten, mehrfach auch in den Ausstellungen der Akademie der Künste. Nach 1933 gehörte Herzog zu den von den Nationalsozialisten als "entartet" verfemten Künstlern. H. 37,5 cm.Eine Holzversion der "Weihe" aus der Zeit um 1920 befindet sich in der Nationalgalerie in Berlin.After Oswald Herzog (1881 - 1946). Dark patinated bronze. Inscribed. Posthumous, contemporary cast, late 20th or early 21st C., after a wooden sculpture carved by Herzog approx. 1920.

(1885 Paris - 1954 ebenda) nach"Femme au miroir" (Frau im Spiegel). OriginaltitelBronze, dunkelbraun patiniert. Bez.; Posthumer, zeitgenössischer Guss, Ende 20./Anfang 21. Jh., nach der 1929 geschaffenen, berühmten, kubistischen Bronzeplastik des Bildhauers. Auf einer quaderförmigen Plinthe kniender weiblicher Akt in volumenhaft gerundeten Formen, der linke, erhobene Arm in winkeliger Haltung, die Hand auf den Kopf gelegt. H. 47,5 cm.After Henri Laurens (1885 - 1954). Dark brown patinated bronze. Inscribed. Posthumous, contemporary cast, late 20th or early 21st C., after the bronze sculpture modelled in 1929.

1-flg.; Bronze, patiniert sowie Holz, schwarz lackiert. Vollplastische Darstellung eines hockenden Pavians als Träger für vasenförmiges Leuchtmittel. Elektrifiziert. Gerader, hoher, allseitig profilierter Podestsockel mit quadratischer Deckplatte. Ges.-H. 164 cm. Lampen-H. 60 cm.A French patinated Bronze Art Deco style sculpture lamp depicting an ape with black lacquered basement.Frankreich.

(1757 Possagno - 1822 Venedig) nachKniende VenusBronze, braun patiniert. Künstler-Bez. "Canova", 19. Jh.; Auf einer rechteckigen Plinthe vollplastische, klassizistische Darstellung einer nackten, auf dem Boden knienden Venus. Dekorative Skulptur, die durch Antonio Canovas berühmte, 1805 - 1808 geschaffene Figur der Pauline Bonaparte als Venus inspiriert ist. Eine vergleichbare Marmorstatue befindet sich im Garten der Villa dei Mulini, Portoferraio in Italien. H. 77 cm. 35 cm - 27,5 cm. After Antonio Canova (1757 - 1822). Brown patinated bronze figure of the kneeling Venus after the ancient marble sculpture of Pauline Bonaparte in the garden of Villa dei Mulini, Portoferraio, Italy. Inscribed "Canova". French cast, 19th C.

Bronze, braun bzw. in hellgrünlichen und hellgrauen Tönen patiniert. Vollplastisch gearbeitete, naturnah gestaltete, fliegende Schwäne mit detailreicher Federzeichnung über einem Natursockel mit Schilf. H. ca. 112 cm. An Italian patinated bronze garden sculpture with a pair of swans flying above a reed base.Italien. Neuzeitlich.

(1868 Neurode - 1939 Berlin)Spanische TänzerinAlabaster. Sign. u. dat. 1901. Eingelassene, originale, runde Metallplakette der ausführenden, 1887-1929/30 bestehenden "Werkstätten für Kunst und Kunstgewerbe Schumacher und Co.", Osterode am Harz (Punktierzirkel mit Bez. "S & Co."). Vollplastische Darstellung. Auf einer rechteckigen, beidseitig gebogten Plinthe stehende Tänzerin als Halbakt in graziöser Pose, in ihren Händen Kastagnetten haltend. Seger erhielt seine künstlerische Ausbildung an der Königlichen Kunst- und Gewerbeschule Breslau, in den Ateliers von Christian Behrens in Breslau und Auguste Rodin (1983/94) in Paris. Danach arbeitete er als freischaffender Bildhauer in Berlin, wo er um 1900 durch seine Jugendstil-Skulpturen und -Plastiken, insbesondere Akte und Tänzerinnen bekannt wurde. Besch.; H. 75 cm.Eine Bronze-Ausführung der Spanischen Tänzerin befindet sich in der Skulpturensammlung der Staatl. Kunstsammlungen in Dresden (Inv.-Nr. ZV 4084).Alabaster sculpture. Signed and dated 1901. Metal plaque of the "Werkstätten für Kunst und Kunstgewerbe Schumacher und Co.", Osterode am Harz, Lower Saxony (1887 - 1829/30). Flaws.

ALICIA PENALBA (1913-1982)Sorcier 1 ou Petit Sorcier 1953 signé, numéroté 5/6 et avec le cachet du fondeur Susse Fondeur Parisbronze sur base en boissigned, numbered 5/6 and stamped with the foundry mark Susse Fondeur Parisbronze on wooden baseBronze : 36.3 x 15 x 14 cm.Bronze : 14 5/16 x 5 7/8 x 5 1/2 in. Avec la base : 43 x 17 x 17 cm.With the base : 16 15/16 x 6 11/16 x 6 11/16 in.Réalisé en 1953.Footnotes:Cette œuvre est enregistrée au Centre de Recherche Penalba, Bruxelles.ProvenanceCollection particulière, FranceAcquis auprès de celle-ci par le propriétaire actuel ExpositionsParis, Galerie Claude Bernard, Alicia Penalba, 1960, n° 4 São Paulo, Biennale V, 1961, n° 3 Zürich, Charles Lienhard, Penalba by Alicia Penalba, 1961Leverkusen, Schloss Morsbroich, Alicia Penalba, 1964, n° 4Lausanne, Galerie Alice Pauli, Penalba, Sculptures, 1967, n° 2 Bâle, Galerie d'art moderne Marie-Suzanne Feigel, Alicia Penalba, Sculptures, 1967, n° 2Carennac, Galerie du Prieuré, Un aspect de l'art aujourd'hui, 1968, n° 13Rome, Galleria Nuovo Carpine, Penalba, Sculpture, 1969, n° 2Marseille, Musée Cantini, Certitude de l'incertain, 1977, n° 41Buenos Aires, Museo de Arte Latinoamericano de Buenos Aires, Alicia Penalba, Escultora, 2016, n° 3A, un autre exemple illustré en noir et blancBibliographie Jörn Merket, Penalba, Paris 1977, p. 102 et 139, un autre exemple illustré en noir et blancFrédérick Aubourg, Alicia Penalba - Vers l'envol, Paris 2021, n° 24, un autre exemple illustré en couleursThis 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

CLAUDE LALANNE: 'NOEUD' BANGLE, CIRCA 1980Realistically modelled as a ribbon bow with leaf terminals, and a textured finish simulating fabric, signed C.Lalanne, numbered 92/100, internal diameter 5.5cmFootnotes:One of the art world's longest-standing surrealist pioneers, Claude Lalanne (1924-2019) designed furniture and sculpture alongside her husband Francois-Xavier Lalanne, and her delicate, sculptural jewellery is inspired by the natural world. She designed windows for Christian Dior and was known from the 1960s for her mastery of life-casting. Yves Saint Laurent commissioned her to create sculpted busts and waists in bronze for his Autumn/Winter 1969 Haute Couture Collection, which fitted over billowing blue dresses dubbed 'Les Robes Lalanne'. The courturier observed, 'What touches me is how she brings together the same high standard of craftsmanship and poetry. Those beautiful sculptor's hands seem to push aside the mists of mystery to reach the shores of art'. Surrounded by her furniture and animal sculptures at her atelier in Ury, near Fontainebleau, Lalanne worked with the doors flung open to her garden, while translating forms inspired by flora and fauna into lasting jewels. She would submerge flowers, plants and butterflies she had found, using a meticulous electroplating process to cover them with a delicate metallic layer, immortalising these organic subjects and breathing life into their castings. Her husband said of her, 'Claude works as the birds sing, without really thinking about it'. Brambles, cherry blossoms, snakes, butterfly orchids, buttercups and gooseberries all passed through her hands. The 1980s and 1990s are considered Lalanne's golden era by collectors of her work, which possesses a delicate and whimsical beauty. Lalanne also produced a choker to match this bracelet.Lots 36-42 are from a Private Collection of Artist Jewellery.For further information on this lot please visit Bonhams.com

AFTER GIAMBOLOGNA (ITALIAN, 1529-1608), A BRONZE FIGURE OF MARS ITALIAN, 18TH CENTURY On later plinth base 41cm high overall, the base 16 x 10cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseThis bronze is a cast of the sculpture by Giambologna which was cast in 1587. A similar example can be seen in the V&A, Accession number: A.99-1956Born in Flanders Giovanni Bologna (1524-1608), or short Giambologna went to Rome to study antique sculpture from about 1550 to 1553. He then travelled through Florence where he was persuaded to stay. He became sculptor to the Medici family in 1561 and thus became one of the most influential sculptors of the late 16th and early 17th centuries. He drew attention to many artists from Northern Europe and disseminated his style mainly through small bronzesCondition Report: wear to patina from age, use and handling- notably to exposed limbs, back , signs that some of this has been retouched under strong light- lower guard to sword reattached Condition Report Disclaimer

A LARGE BRONZE GARDEN SCULPTURE OF A CROCODILE MODERN approximately 60cm high, 164cm longCondition Report: Modern- decorative- some surface build up of dirt and weatheringPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.Condition Report Disclaimer

Raingo Freres: a large and impressive slate, gilt and bronze mantel clock, the dial with enamelled roman numerals, two train movement striking on a bell on the hour and half-hour and with outside count wheel, the backplate with maker's mark and numbered 1875, the case surmounted by a bronze sculpture after Jean Francois Theodore Gechter depicting Quentin Durward saving Louis XI from a boar entitled 'Louis XI et Quentin Durward. W. Scott', the lower case section of canted rectangular form, with cabochon scroll acanthus dog's head, putto and fruiting vine design and stag head apron, 89.5cms high, with pendulum.From the Leslie Southall Collection.

Ann Baxter, Boroughbridge, North Yorkshire: brown patinated bronze model of a horse kneeling on front legs, unsigned, 49cms long, 26cms high.Notes: Although seemingly unsigned this was bought by the Vendor's family with the two items in the following lot.Award-winning artist Ann Baxter, has led a fascinating and unconventional life, growing up on the family smallholding, hating school and leaving with no formal qualifications. She went on to attend Leeds College of Art on the strength of her portfolio and specialised in sculpture. In adulthood, she managed to recapture the joys of living on a small holding with her husband and son, and also bought two pure-bred Arabian fillies.

After Giambologna (Italian 1529-1608): Mercury flying on the breath of Zepher, after the antique, green patinated bronze, and mounted on a black marble plinth with patinated bronze frieze depicting putti, 66cms high. Notes: The most celebrated sculpture by Giambologna is the Mercury, known in four versions whose chronology is uncertain. His first design, a heavy wingless figure, is preserved in a model in Bologna. When Giambologna returned to Florence, he referred to his earlier work in a second version, a flying Mercury, now lost or identical to one in Vienna. This bronze was sent by Cosimo as a diplomatic gift to the Holy Roman Emperor Maximillian II, when they were negotiating the marriage of Maximilian's sister Giovanna to Francesco de' Medici. The messenger G od was Maximilian's protector and the pose was based on a medal of Maximilian by Leone Leoni (1551).The fourth, a flying variant in Museo Nazionale del Bargello, Florence (of which this lot is a copy) was completed by 1580, when it became a fountain figure at the Villa Medici, Rome. Mercury balances on a bronze column of air issuing from the mouth of Zephyr, over which flowed water, increasing the illusion that he was floating. The god assumes an arabesque, balanced precariously on his toes, and points upward to Jupiter. It is Mannerist in that it can be appreciated from all angles and is elongated and elegant, yet these features contrast with its amazing physicality and an evident study of weights and balances. The preciosity of "Maniera" is blended with what became Baroque illusionism and the freedom derived from wax.

After Felix Lecomte (French 1737-1817): a patinated bronze sculpture of Emperor Napoleon Boneparte on horseback, pointing to the enemy, on naturalistic base, with cast signature 'Lecomte', and black marble plinth, 40 x 19 x 50cms high.

Just Andersen (Denmark, 1884-1943): a green/brown patinated bronze sculpture of a female nude, signed and stamped 'D2300', 27.5cms high.

Artist Unknown: a patinated bronze sculpture of a racehorse taking a hurdle, on black marble base, 35 x 20 x 33cms high.

JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Moira", 1982.Sculpture in polyester resin and electrolytic bronze bath based on the model conserved by Espai Subirachs, copy 254/999.Signed.In wooden box including the book "Subirachs" (Editorial Enciclopèdia Catalana).Size: 28 x 23 x 7,8 cm (sculpture); 20 x 47 x 29 cm (box).Trained between Barcelona and Paris, Subirachs has exhibited his work all over the world, and has won important awards such as the Sculpture Prize at the Jazz Salon, the San Jorge Grand Prize from the Diputació de Barcelona and the "Julio González" prize from the Barcelona Chamber of Art. In 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected member of the San Jorge Royal Academy of Fine Arts. He is represented at the Reina Sofía Centre, 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.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 Josep Maria 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 shows his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founds, 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 returned to Spain, and in 1958 he was 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.

JESÚS LIZASO (Baracaldo, Vizcaya, 1961).Untitled.Bronze.Signed on the base.Work catalogued in "Lizaso. Art and feeling". Darby Locise, Personal Books p 86.Measurements: 23 x 8 x 8 cm.Jesús Lizaso was born in Baracaldo, Vizcaya. His work draws from the sources of the Basque School of Sculpture. Oteiza, Chillida, Ugarte, Basterretxea... are a source of inspiration, as for many artists, and a necessary step until the study, his own evolution as an artist, the assimilation of these influences and his own inspiration, turn him into a singular artist and a language of his own.Lizaso also participates in the interest in public sculpture, where he shows traits of a meticulous personality, respectful of the environment and ironic. Jesús Lizaso's public work moves between the barely intuited figuration, the use of strong materials and the symbol. PUBLIC SCULPTURES Mamá/Amatxo, 2002, Erandio, Biscay Mamá/Amatxu, 2002, Munguía/Mungia, Biscay. Símbolo/Ikurra, 2003, Basauri, Biscay (symbol of Basauri). Besito/Musutxu, 2006, Baracaldo/Barakaldo public square, Vizcaya Por la infancia, 2006, Parque de las Esculturas, Baracaldo/Barakaldo, Vizcaya (donation from the Consistory of Baracaldo to UNICEF for its 60th anniversary) Fuerte abrazo/Besarkada estua, 2007, Urreta Square, Vizcaya Street, Galdácano/Galdakao, VizcayMujer/Emakumea, 2008, near Casa de Cultura Clara Campoamor, Baracaldo/Barakaldo, Vizcaya Memorias al cubo, 2008, Palencia (Homage to the victims of the Civil War)

RAFA MACARRÓN (Madrid, 1981).Untitled, c. 2014.Papier-mâché and paint. Unique piece.Enclosed certificate issued by the author.Size: 65 x 21 x 15 cm; 17 x 122 x 27 cm (base).In this sculpture Macarrón refers in a personal way to his dog, capturing its essence from its naïve idiosyncrasy. In this synthetic image of stylised forms and intense colour, the artist resorts to lines inspired in a harmonious way by nature, thus extolling forms with which he creates a new concept based on an imaginary world of vitality and joy. The representation of his dog as the protagonist of his work is not isolated, as in the exhibition Quince held at the Cac in Malaga in 2021, there were several sculptures featuring a dog, as well as a large bronze sculpture entitled "Perro I", which can be found on the Estepona promenade. However, in this particular case the sculpture stands out from the others, due to the technique used and the intense colouring which gives it great expressiveness.Rafa Macarrón is one of the young Spanish artists with the greatest international projection at present. His painting brings into play wide, neutral spaces, with intense, vivid colours, through which unstable characters with fragile limbs and enormous heads walk. In this way, he creates scenes which do not dispense with the figurative world, but which immerse the spectator in a dreamlike environment, full of lyricism. The artist acknowledges that he is influenced by artists such as Dubuffet, Fraile, Matta and Quirós, as well as by comic strips and Spanish painting of the 1950s and 1960s. His exhibition career began in 2006, with a solo show at the Sala Príncipe Sport in Madrid, entitled Trabubus. Since then he has participated in numerous solo and group exhibitions in national and international centres. Since 2008 he has also participated, with notable success, in numerous international art fairs, such as Art Madrid, Art Valencia, Scope Basel, Young Art Taipei, ARCO Madrid, Art Miami - Aqua, Art Lima, Context New York, Berliner Liste, and others... He has received several awards, such as the BMW Painting Prize in 2010 or the Best Artist Arco Award in 2013. His work is held in important collections and museums, such as the Hudson Valley Center for Contemporary Art in New York, the BMW Foundation in Spain, the Vivanco Foundation in La Rioja, and the Pilar Citoler Collection.

Property of a Distinguished Gentleman of Title Sir Jacob Epstein (1880-1959) Bust of Joseph Conrad Signed 'Epstein' (on the back) Bronze with a green and brown patina Conceived in 1924 This work is cast 5 from an edition of 6 Provenance:  William B. Leeds, Virgin Islands. Anonymous sale; Sotheby's, New York, 5 April 1967, lot 69. B. Gerald Cantor, Beverly Hills. Leona L. Palmer, Beverly Hills. Anonymous sale; Sotheby's, London, 11 December 2006, lot 30. Christie's London, November 21, 2019 [Lot 00281] Modern | British & Irish Art. Where acquired by the present owner.  Literature: A. Rutherston, Contemporary British Artists: Jacob Epstein, London, 1925, p. 6, pl. 35, another cast illustrated. E. Silber, The Sculpture of Epstein, Oxford, 1986, p. 156, no. 148, pl. 15, another cast illustrated. R. Cork, Jacob Epstein, London, 1999, p. 46, no. 38, another cast illustrated. Dimensions: 22.5 in. (W, excluding base.)

A large Chinese patinated bronze sculpture of a horse / stallion, first half twentieth century, modelled in a standing pose, Chinese two character mark to base, 31¾in. (78.2cm.) long, 25in. (63.5cm.) high. Nice condition and patina, rubbing to hoofs etc.

A large contemporary patinated bronze Male Gymnast sculpture, the gymnast performing flare on a ring, raised on square plinth, 26in. (66cm.) high., Nothing to note, good condition.

Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Kicking Horse. * terracotta maquette, signed lower centre “Blampied”, English, early 19th century, gilded frame with a lamb’s tongue sight edge, 4 1/8 x 5 1/8in. (10.5 x 13cm.). * * The maquette is related to the drypoint etching “Flies” of 1913 and the bronze sculpture Kicking Horse of 1924 (Catalogue Raisonné, Arnold & Appleby, No.17 & BZ.1). Maquettes by Edmund Blampied are extremely rare.. * Good condition, mane possibly with losses, some wear to frame, very appealing to the eye.

Andre Vincent Becquerel (1893-1981) Stallion rearing, silvered bronze sculpture on green bakelite drum base signed in the cast Becquerel 23.5cm. high

IKEMURA, LEIKOTsu, Mie-Ken/JapanTitel: Liegende. Datierung: 2003. Technik: Bronze, dunkelbraun und grün patiniert. Maße: 38 x 87 x 37cm. Bezeichnung: Signiert und bezeichnet auf der Unterseite: IkeMura 1/6 [sic!]. Gießerstempel: Hier zudem der Gießerstempel: H.NOACK BERLIN. Daneben handschriftlich nummeriert: 1/5 2003 Leiko Ikemura. Exemplar: 1/5. Provenienz:- Galerie Karsten Greve, Köln 2003- Unternehmenssammlung DeutschlandAusstellungen: - Vangi Sculpture Garden Museum, Nagaizumi 2006 (hier Ex. 5/5)- MOMAT, Tokyo 2011 (hier Ex. 5/5)- Mie Prefectural Art Museum, Tsu 2012 (hier Ex. 5/5)Literatur: - Vgl. Ausst.-Kat. u mi no ko, Vangi Sculpture Garden, Nagaizumi 2006, Einband (hier Ex. 5/5)- Vgl. Ausst.-Kat. Leiko Ikemura. Transfiguration, MOMAT, Tokyo 2011, S. 89 (hier Ex. 5/5)- Vgl. Leiko Ikemura: Leiko Ikemura. Transfiguration. From Figure to Landscape, Berlin 2012, S. 118-119 (hier Ex. 5/5)- Vgl. Ausst.-Kat. Leiko Ikemura, Vangi Sculpture Garden, Nagaizumi 2014, S. 88-89 (hier Ex. 5/5)- Vgl. Ausst.-Kat. Leiko Ikemura, Aquí Estamos, Ciudad de las Artes y las Ciencias Valencia, 2022, S. 114 (hier Ex. 5/5).Erläuterungen zum Katalog

A LARGE AND IMPRESSIVE EARLY 19TH CENTURY FIGURAL BRONZE AND SIENNA MARBLE MANTEL CLOCK the patinated bronze sculpture modelled as a Classical Greek philosopher holding a stick standing beside a bronze mounted Sienna marble column with relief bronze ring showing the signs of the zodiac enclosing a 3.5" enamel dial with Roman numerals fronting an eight-day spring driven movement with outside countwheel and silk suspension striking the hours/half hours on a bell89cm highThe clock is in very good original condition having very good color and patina to the bronze figure. The sienna marble is in good order with no losses or breaks. The dial has no cracks or restoration. The movement is complete, chiming on the bell with the original pendulum but it is dirty and would require a service. We do not guarantee mechanical parts or functionality.

A LATE 19TH CENTURY ITALIAN BRONZE SCULPTURE modelled as a Neapolitan fisherman on naturalistic circular base 31.5cm high

AN EARLY 20TH CENTURY AUSTRIAN COLD PAINTED BRONZE SCULPTURE OF A RUNNING FOX12cm acrossThis is in nice overall condition, with some losses to the paint consistent with age, no breaks or welds.

A 19TH CENTURY RUSSIAN IMPERIAL GILT BRONZE AND LABRADORITE SCULPTURE modelled as Peter the Great on a carved marble base with applied gilt bronze plaque.23.5cm high 23.5cm wideIn good un damaged condition with no loses or repairs to the bronze, small edge chips to the base. See uploaded images.

ANTON ENDSTORFER (1880-1960) AN ART NOUVEAU BRONZE AND IVORY FIGURAL SCULPTURE depicting a young lady with ivory head and pearl headdress - signed to base, mounted on an Antico Verde marble plinth base.UK Ivory Act 2018 Exemption Submission Reference - 51UBQ82335cm high

A 19TH CENTURY BRONZE SCULPTURE OF THE SATYR “MARSYAS” PLAYING THE FLUTE leaning against a pillar with foundry stamp to reverse. 39.5cm high

A 19TH CENTURY BERGMAN STYLE BRONZE COLD PAINTED BIRD SCULPTURE OF A COCKEREL13.5cm high

AN EARLY 20TH CENTURY CLASSICAL FIGURAL GILT BRONZE SCULPTURE depicting a young girl mounted on a rouge marble circular base.20cm high 25cm diameter.

AN IMPRESSIVE LARGE 19TH CENTURY PATINATED BRONZE SCULPTURE DEPICTING A BORGHESE GLADIATOR on an oval stumpwork base. 87cm high.

TWO LATE 19TH CENTURY/EARLY 20TH CENTURY BERGMAN STYLE COLD PAINTED ANIMALIER BRONZE PAPER CLIP AND SCULPTURE OF LIZARDS one set with a miniature fly on its tale15cm and 7.5cm overall

A LATE 19TH CENTURY FRENCH PATINATED BRONZE SCULPTURE modelled as a dog on the scent standing on a naturalistic base with an indistinct signature9.5cm high 18cm wide

JEAN JULES SALMSON (1823 -1902) A 19TH CENTURY FRENCH PATINATED BRONZE SCULPTURE depicting an Eastern girl - signed.53.5cm high

LALOUETTE. A LATE 19TH FRENCH PATINATED BRONZE SCULPTURE modelled as a bulldog with blanket on a naturalistic base, signed and inpressed foundry mark 10.5cm high 14.5cm wide

A LARGE 19TH CENTURY ITALIAN BRONZE SCULPTURE OF THE FLYING MERCURY on a hexagonal Antico Verde marble plinth base.86.5cm high Other than the staff being broken off at the handle it is in very nice condition, with no other losses or restoration. There are some very minor surface scratches consistent with age. The marble base is in very good condition with no chips or cracks. The bronze is detachable from the base, which is original.The total weight is 11.5kg.

A LATE 19TH CENTURY ITALIAN PATINATED BRONZE SCULPTURE modelled as a boy removing a thorn from his foot, known as 'Spinario', the base inscribed 'Muse du Capitole. (ROME)'39cm high

AN 18TH/19TH CENTURY ITALIAN BRONZE SCULPTURE of a prancing horse, mounted on a veined marble moulded plinth base.40.5cm high 34cm wide

AFTER PIERRE JULES MENE. A 19TH CENTURY EQUESTRIAN BRONZE SCULPTURE "L'ACCOLADE" finely cast and depicting an Arab stallion and mare, on a naturalistic base with gilt plinth - signed P J Mene and inscribed MAGDE SPRUNG numbered 190.52cm overall 35cm high

MAUREEN COATMAN. A LARGE LIMITED EDITION BRONZE SCULPTURE OF RED RUM the bronze bust inscribed on the reverse "RED RUM. M.M. COATMAN, 1977. 2/25" mounted on a titled granite base with applied bronze plaque showing Grand National results and jockeys, raised on a moulded ebonised plinth64cm high

FERDINAND BARBEDIENNE (1810-1892). A 19TH CENTURY FIGURAL BRONZE SCULPTURE depicting a seated Female entilitled EUG.ne. AIZELIN signed F. BARBEDIENNE Paris.53cm high

ATT. TO LOUIS HOTTOT (1834-1905) A LATE 19TH CENTURY MASSIVE LIFE SIZE BRONZED ORIENTALIST SCULPTURE modelled as a female figure dressed in Arabian style costume holding a fan while resting on a table decorated with geometric Moorish patterns in the Alhambra style with large bronzed and gilt vase having intricate Arabic calligraphy amongst arabesque and geometric relief work, the sculpture raised on a stepped wood plinth with canted corners and geometric gilt mounts 193.5cm highThe plinth is the only part that is wooden, the rest is bronzed metal (not solid bronze). In very good condition small areas of the bronzed finish which have worn through and there are two small areas of restoration to her left hand (see images). Small chips to the top of the tabletop. The gilding to the vase and to her bangles have been redone. Restoration to the hand. 

AN EARLY 20TH CENTURY AUSTRIAN COLD PAINTED BRONZE SCULPTURE OF A FOX CARRYING A DUCK featured on page 115 of Joseph Zobel's Book 'Antique Vienna Bronzes'18.5cm across