We found 17138 price guide item(s) matching your search

YVES LOHE, a gilded bronze sculpture of a blacksmith, impressed LOHE to base, height 23cmGood condition

BRONZE SCULPTURE OF C.S LEWIS BY CHARLIE LUDLOW

A Modernist Bronze Sculpture of Mother and Child on Rectangular Plinth Base, 33cms High

A silver-plated ice bucket, Champagne Monopole Reims, 20cm high together with a bronze sculpture, 20th century, putti with grapes on a triform base, 34cm high and a twin-handled spirit burner, 21cm high (3)

A bronze sculpture of a ballerina, on a circular marble base, indistinctly named A. Sarr? 31.5cm high, together with a damaged bronzed sculpture of a tennis player, the leg broken and crudely repaired 25.5cm high AF (2)

IMPORTANT ANNOUNCEMENT - *Please note this sculpture is bronzed Spelter and not as catalogued. After Lorenzl, an art deco bronze of a ballerina, on a marble sloped base, 26.5cm high AF right thumb broken and chipped

After A. Moreau, a bronze sculpture of cupid and psyche, on a circular marble base, marked to the back, total height 56cm, the base with a large chip AF

A 20th century bronze effect resin sculpture of a clown, on a square marble effect base, total height 48cm

IMPORTANT ANNOUNCEMENT - *Please note the metal is bronze A cast metal sculpture of a suggestive nude lady, on a rectangular base, with some wear to the finish, 75cm high AF

An Austin Sculpture Collection Egyptian Cat statue in a verdigris bronze finished dated 1965, on a wooden base, 31cm high.

George Best Rare Bronze Figure: 1996 Brian Grieves bronze sculpture figurine of George Best in action. Bronze figure on solid circular brass base measures 22cm high and weighs 3.5 kg. Painted in oil and enamel. Cast at Lunts Foundry in Birmingham. Number 2 of only 4 produced worldwide. Comes with Certificate of Authenticity.

Demétre Haralamb Chiparus 1886 - 1947 - Bronze Art Deco Dancer Figure on Marble Base. Loss of resin hands. Otherwise good condition. 'D.H. Chiparus' in the bronze, on the rear of small square base. It's 32.5cm approximately high.*Notes - Romanian Sculpture who lived and worked in Paris France. He was one of the most important sculptors of the Art Deco era

Lipensky, Franz Josef (geb. Böhmisch-Leipa/Nordböhmen 1932, Studium an der KA Prag, Ehrenmitglied der Münchener Künstlergenossenschaft (1968), erhielt 2006 den European prize for sculpture in Prag, Bildhauer),"Grasendes Pferd", Bronze, nummeriert 3/15, Signaturstempel, H. ca. 25.5 cmVom Künstler in eigener Gießerei gegossen. Echtheitszertifikat liegt bei.

Lipensky, Franz Josef (geb. Böhmisch-Leipa/Nordböhmen 1932, Studium an der KA Prag, Ehrenmitglied der Münchener Künstlergenossenschaft (1968), erhielt 2006 den European prize for sculpture in Prag, Bildhauer),"Stehendes Pferd", Bronze, signiert, nummeriert 3/15, H. ca. 34 cmVom Künstler in eigener Gießerei gegossen. Echtheitszertifikat liegt bei.

Paul Jenkins Signed - Howard Hare - Frith Cold Cast Bronze Sculpture. Good condition, no damage.

David Ivey Signed - Limited Edition 21/50 - Bronze Sculpture. Good condition, no damage.

A bronze effect cast resin sculpture of clasped hands, 25cm long

§ Breon O'Casey (British 1928-2011) Study for Éan Mór, circa 2006 III/V, initialled and numbered (to underside of base), patinated bronze, marble baseDimensions:20cm high, 20cm wide (7 7/8in high, 7 7/8in wide) excluding baseProvenance:When originally purchased from the artist, O'Casey sent a note explaining 'I enclose a token of thanks for all your trouble...It's a maquette of the big one...Breon'.Note: The large scale Éan Mór is situated at Phoenix Park, Dublin. "It’s odd, but although my paintings are almost always abstract, my sculptures arealmost always of some animal, bird or person. I don’t know why this is; but maybepainting is a language - a language writ on hardboard, paper or canvas. The languageof colour and form - as John Wells says: “whereas sculpture is objects”. And an object,unless it be a stone, must be of something." (Breon O'Casey)

§ Émile Gilioli (French 1911-1977) Le Glacier, 1961 signed and dated (to underside), polished marbleDimensions:27cm high, 29cm wide, 20cm deep (10 5/8in high, 11 3/8in wide, 7 7/8in deep)Provenance:Provenance:World House Galleries, New York, 1962;Joseph H. Hirshhorn, New York, 1962-1966;Gift to the Hirshhorn Museum and Sculpture Garden, Washington;Christie's, Modern Paintings, Drawings and Sculpture, 23 February 1994, lot 90 where sold by the Order of the Trustees of the Hirshhorn Museum.Note: Émile Gilioli was one of the pre-eminent sculptors of the new abstract movement in France in the 1950s. He believed that the foremost challenge in sculpture was the synthesis of architecture and art, and that the choice of material, whether it be marble, onyx, bronze, lapis-lazuli, agate, alabaster or cement, was of utmost importance in shaping the form of the object. Having studied at the École des Beaux-Arts in the 1930s, the influences of the pre-war Paris school of artists such as Brancusi and Henri Laurens clearly shine through in his work. After World War Two he associated and exhibited with leading avant-garde artists of the period including Giacometti, Picasso and Soulages. This included being Vice-President of the leading abstract collective, Espace, initiated by André Bloch, Le Corbusier and Fernand Léger. Gilioli went on to exhibit internationally and his work is held at major institutions such as Tate, London, the Museum of Modern Art, New York and the Museu de Arte Moderna, São Paulo. Gilioli was honoured with a retrospective after his death at the Musée National d’Art Moderne, Centre Georges Pompidou in Paris in 1979.

§ Émile Gilioli (French 1911-1977) Lys 1/5 and 3/5, each signed and numbered (to the marble), polished bronze and marbleDimensions:each 27.5cm high, 30cm wide, 12cm deep (10 3/4in high, 11 3/4ing wide, 4 3/4in deep) including baseProvenance:Provenance:Edition 1/5: Estate of Lee A. Ault;Sotheby's, New York, 12 June 1997, lot 257. Edition 3/5: M. Knoedler & Co., Paris, 1961;Joseph H. Hirshhorn, New York. 1961-1966;Gift to the Hirshhorn Museum and Sculpture Garden, Washington, 1966;Christie's, Modern Paintings, Drawings and Sculpture, 23 February 1994, lot 89, where sold by the Order of the Trustees of the Hirshhorn Museum.Note: Émile Gilioli was one of the pre-eminent sculptors of the new abstract movement in France in the 1950s. He believed that the foremost challenge in sculpture was the synthesis of architecture and art, and that the choice of material, whether it be marble, onyx, bronze, lapis-lazuli, agate, alabaster or cement, was of utmost importance in shaping the form of the object. Having studied at the École des Beaux-Arts in the 1930s, the influences of the pre-war Paris school of artists such as Brancusi and Henri Laurens clearly shine through in his work and after the Second World War he associated and exhibited with the leading avant-garde artists of the period including Giacometti, Picasso and Soulages. This included being vice-president of the leading abstract collective, Espace, initiated by Andre Bloch, Le Corbusier and Fernand Leger. Gilioli went onto exhibit in many notable exhibitions internationally, his work is held at major institutions such as Tate Modern, London, Museum of Modern Art, New York and Museu de Arte Moderna, Sao Paulo, as well as being honoured with a retrospective after his death at the Musée National d’Art Moderne, Centre Georges Pompidou in Paris in 1979.

§ Denis Mitchell (British 1912-1993) Untitled, 1969 unique, initialled and dated (to underside of base), brassDimensions:26cm x 2.5cm (10 1/4in x 1in) excluding baseProvenance:Provenance: Commissioned by the artist George Dannatt and thence by family descent;Askew Art, London, where acquired by the present owner.Note: Exhibited: Maltby Contemporary Art, Winchester; Rosenberg & Co., New York.Literature: George Dannatt and Friends, exhibition catalogue, Osborne Samuel, London, 2015, p.50, illustrated p.62; Modern British Masters, Rosenberg & Co., New York,2017.Note: This unique sculpture, dating from 1969, was a commission from Denis Mitchell’s friend, the art connoisseur turned painter George Dannatt. Initially Mitchell’s sculptural work was characterised by direct carving of wood and stone, skills developed in his war service work in the Geevor tin mine, before he spent ten years as assistant to Barbara Hepworth. Mitchell explained; ‘we carved side by side . . . I was her hands.’ By the late 1960s he had developed an assured approach in the casting of both brass and bronze to create polished and dynamic sculpture. His love of pure form shines through in this deceptively simple work; the jagged edges, pierced holes and shining warm surface divide, reflect and reveal the light and space around and behind the slim form, conjuring a potent presence much greater than its stature.

Sir Anthony Caro OM CBE , Seated Woman, a patinated bronze sculpture, numbered 140, 63cms tall. Provenance The vendor had a working relationship with the artist and was given this bronze along with some other works directly from the artist, ARR applies to the purchase

A quantity of 44 Christie's and Sotheby's catalogues, comprising: Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 26th November 1968.Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities also Islamic Pottery, 18th June 1968.Sotheby's, Catalogue of Islamic Arms and Armour Glass, Textiles, Ceramics, Woodwork and Metalwork also Qajar Enamels, 2nd May 1977.Sotheby's, Catalogue of African, Oceanic, Pre-Columbian and American Indian Art also Japanese and Indian Sculpture and Islamic Pottery, 27th of June, 1966.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 28th of April 1981. Sotheby's, Catalogue of Fine Islamic Rugs ad Carpets, 29th of March 1978.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 12th and 13th October 1981.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984, 17th of October 1983.Sotheby's, Catalogue of Egyptian, Western Asiatic, Irish Bronze Age, Greek, Etruscan, Roman, Celtic, Anglo-Saxon and Byzantine Antiquities Islamic Pottery and Metalwork, 13th of July, 1970.Sotheby's, Catalogue of Fine Oriental Carpets and Rugs, 6th of May 1977.Sotheby's, Islamic Work of Art Part II, Metalwork, Ceramics, Glass, Textiles and Qajar Enamels, 22nd of November, 1976.Christie's, Indian Miniatures, 12th of July 1979.Christie's, Fine Oriental Miniatures and Manuscripts, 10th of July 1975.Christie's, Important Islamic Manuscripts and Indian Miniatures, 9th of November 1977. Christie's, Important Islamic and Indian Manuscripts Miniatures, 24th of April 1980.Christie's, Indian Miniatures and Watercolours, 3rd of July 1980.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th of April 1989.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th and 12th of June 1984. Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 4th of July 1985.Christie's, Oriental Ceramics and Works of Art, 31st October 1991.Christie's, Oriental Ceramics and Works of Art, 23rd July 1992. Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 17th of October 1989.Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 3rd of May 1990.Christie's, Oriental Ceramics and Works of Art, 17th of May 1990.Christie's, Oriental Ceramics and Works of Art, 28th of June 1990.Christie's, Persian and Islamic Works of Art, 11th of July 1977.Christie's, Persian and Islamic Works of Art, 14th of July 1975.Christie's, Important Travel and Natural History Books, 20th of February 1980.Christie's, Sale of Islamic and South East Asian Paintings, Manuscripts and Works of Art, 14th of June 1983.Christie's, Oriental Ceramics and Works of Art, 18th of December 1991.Christie's, Oriental Ceramics and Works of Art, 4th of September 1990.Christie's, Carpets and Furniture, 25th of March 1992.Christie's, Oriental Ceramics and Works of Art, 23rd of January 1992.Christie's, Oriental Ceramics and Works of Art, 9th of July 1992.Christie's, Oriental Ceramics and Works of Art, 18th of October 1990.Christie's, Oriental Ceramics, Works of Art, Miniatures and Manuscripts, 8th of August 1991. Christie's, Oriental Ceramics, Works of Art, 26th of July 1990.Christie's, Review of the Season 1983.Christie's, Review of the Season 1988.H. Daiber, Catalogue of the Arabic Manuscripts in the Daiber Collection, Institute of Oriental Culture, University of Tokyo, 1988.Oriental Miniatures and Illumination, Bulletin No. 41, Maggs Bros. Ltd. (44) Please refer to department for condition report

MERETE RASMUSSEN (born 1974); an earthenware abstract sculpture of an entwined loop with textured surface covered in bronze pigment, length 36cm, height 19cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Contemporary Alberto Giacometti style bronze sculpture of a young elongated man, artist unknown

Patinated Bronze sculpture of Nude woman (15cm high), a pistol grip matched set of carving implements, some with HM Silver ends, hallmarked silver and leather cigar pouch. In good used condition

"Warrior". Bronze sculpture. China. Ming period. 17th century.37 x 15 x 11,5 cm.The upper left part of the ribbon has been restored.

Augustus. Bronze sculpture. China. 17th century.37 x 18 x 13 cm.

D'Après Rodin. 20th century.Bronze sculpture. Height: 37 cm.

Gilded bronze sculpture. Tibet. 19th century.25 x 17,5 x 8,5 cm.Provenance: Acquired at the John Tan Yan antique shop, London, in April 1980.

Bronzo con scultura raffigurante danzatrice orientale. Francia. Inizi secolo XX. Cm 30x20 h 64Bronze with sculpture depicting an oriental dancer. France. Early 20th century. Cm 30x20 h 64

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Micro David", 1971.Nickel-plated metal. With golden metal chain.Signed on the arm.Detachable sculpture: 17 elements.Measurements: 6 x 2,5 x 1,5 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture: 18 elements.Brass, copy 696/2000.Signed and numbered.The patina is worn.Measurements: 28 x 21 x 20 cm (with base).Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Cristina", 1969-1970.Nickel-plated metal, example 2406/9500.Detachable sculpture: 25 elements.Signed and numbered.Measurements: 15 x 8,5 x 6 cm.Miguel Ortiz Berrocal showed a special predilection for articulated and detachable sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

OLIVER TUPTON A BRONZE SCULPTURE, TWO NUDE MALE WRESTLERS. Signed, 9ins long on a marble base.

20th century bronze sculpture of panther and crocodile fighting on verde marble stand also signed at the back

An Indian bronze sculpture of a cobra, 19th century. Height 17cm, length 33cm.

Louis XVI-Pendule mit Amor und Tauben. "Drouot à Paris, Dubuisson". Wohl 19. Jh. Ungemarktes Werk mit Halbstundenschlag auf Glocke, Pendel mit Fadenaufhängung, Geh- und Schlagwerk laufen, kein Schlag bei Datum. Bezeichnetes, weißes Emailzifferblatt mit römischen Stunden und Minutenkranz, umlaufende Spitzbogenarkaderie als 30-Tage-Anzeige mit Stellzeiger, Louis XVI-Zeiger. Bronze vergoldet, schwarzgrüner Naturstein. 40,5 x 20,5 x 15,5 cm. Stelenform mit bekrönender Puttenplastik des geflügelten Amor und 2 Tauben, stiltypischer Applikationsschmuck, gestufter Sockel auf 4 gedrückten Kugelfüßen. Minimale Alters- und Gebrauchsspuren, Attribut des Amor fehlt, partiell Lötspuren. Mit Pendel, Schlüssel. Louis XVI pendule with cupid and doves. "Drouot à Paris, Dubuisson". Probably 19th centuryUnmarket movement with half-hour strike on bell, pendulum with thread suspension, walking and striking movement running, no strike on date. Marked white enamel dial with Roman hours and minute circle, circulating ogival arcade as 30-day indicator with setting hands, Louis XVI hands. Bronze gilt, black green natural stone. 40,5 x 20,5 x 15,5 cm. Stela form with crowning putti sculpture of winged Cupid and 2 doves, style-typical appliqué decoration, stepped base on 4 depressed ball feet. Minimal signs of age and use, attribute of Cupid missing, partial traces of soldering. With pendulum, key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

RODIN, Auguste (nach)(1840 Paris - 1917 Meudon) Der DenkerBronze schwarz patiniert, Diabas-Plinthe. Bezeichnet, auf der Plinthenfront bezeichnet, Gießermarke Ara-Kunst mit Zählung "267". H 36 / 39 cm. Nachguss der berühmten Figur, die Rodin als zentrale Figur über dem "Höllentor" konzipiert hatte und später als monumentale Version 1904 auf der Weltausstellung von St. Louis zeigte. Schüler der späteren Ecole d'art décor unter Lecoq de Boisbaudran, dann im Atelier von Barye und Carrier-Belleuse. Gehilfe des Bildhauers Rasbourg in Brüssel, arbeitete auch für die Porzellanmanufaktur Sèvres. "R. ist neben Medardo Rosso der Hauptvertreter des Impressionismus in der Skulptur.". Literatur : Thieme/Becker. RODIN, Auguste (after)(1840 Paris - 1917 Meudon) The ThinkerBronze black patinated, diabase plinth. Inscribed, inscribed on the plinth front, foundry mark Ara art with count "267". H 36 / 39 cm. Cast after the famous figure Rodin conceived as the central figure above the "Gates of Hell" and later showed as a monumental version in 1904 at the World's Fair of St. Louis. Pupil of the later Ecole d'art décor under Lecoq de Boisbaudran, then in the studio of Barye and Carrier-Belleuse. Assistant to the sculptor Rasbourg in Brussels, also worked for the porcelain manufactory Sèvres. "R. is, along with Medardo Rosso, the main representative of Impressionism in sculpture.". Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MOSHAGE, Heinrich(1896 Osnabrück – 1968 Düsseldorf) Bronzerelief: LiebespaarBronze patiniert, Wandaufhängung. Mit Monogramm bezeichnet, verso Gießermarke Buderus mit Ziffer "2017". 28 x 27 cm. Teils als negatives Relief gearbeitetes Paar in der Umarmung. Patina minimal fleckig. Studium der Bildhauerei u. a. bei Waderé an der Kunstgewerbeschule München, danach Schüler bei Joseph Wackerle an der Akademie ebd. Literatur : Thieme/Becker. MOSHAGE, Heinrich(1896 Osnabrück - 1968 Düsseldorf) Bronze relief: LoversBronze patinated, wall hanging. Inscribed with monogram, verso foundry mark Buderus with number "2017". 28 x 27 cm. Partly worked as negative relief couple in the embrace. Patina minimally spotted. Studied sculpture among others with Waderé at the Kunstgewerbeschule Munich, then student with Joseph Wackerle at the Academy ibid. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

17th century Italian school.Christ.Chiselled bronze.Old restorations on both arms. Measurements: 24 cm.Round sculpture representing Christ, still alive, crucified and raising his gaze towards heaven. Formally, the anatomy of Christ stands out, the verism of his anatomical features captured with verism and expressiveness, as well as his position forced by the fastening of three nails. The cloth of purity, with a knot on the right side, is notable for its marked folds and even movement. Throughout the depiction of Christ crucified, the figure of Christ on the Cross was humanised, showing the suffering and pathos with a great sense of naturalism, while at the same time proclaiming redemption and salvation.

Italian Christ, mid-16th century. After models by GUGLIELMO DELLA PORTA (Italy, ca. 1550-1577).Sculpture in gilded bronze and silver cross.Size: 12 x 10 cm (Christ); 45 x 23 cm (cross).The Christ presented here follows the model of the crucifix by Sebastiano Torrigiani, in turn derived from a model by his master Guglielmo della Porta, which is in the church of San Giacomo Maggiore in Bologna. The figure of Christ crucified with only three nails accentuates the drama of the scene. This theatricality is enhanced by the elongation of the upper limbs, which support the full weight of the figure's body.Guglielmo della Porta was a renowned Italian sculptor, architect and restorer of Mannerism. The son of Cristoforo della Porta and his wife Caterina, he received his artistic education from his uncle Giovanni Battista della Porta in Genoa. He worked for the cathedral of Genoa during his early years of artistic training as early as 1531 together with his brother Giacomo and under the direction of his uncle on the statues in the chapel of Saint John the Baptist. In 1537 he moved to Rome and became a pupil of Michelangelo, thus gaining a greater number of commissions. An example of this is the bust he executed for Pope Paul III in 1547, after his death, and the tomb of Saint Peter, which was his principal work, which occupied him from 1555 to 1575, although it was later revised by Bernini. His career as a sculptor to the Farnese court was due to his contact with Mario Maccarone, the overseer of papal building projects. In 1540, as Della Porta he designed the tomb of Vincenzo degli Ubaldi in the church of Santi XII Apostoli. Della Porta was a lay brother of the Cistercians and was called from 1547 to the papal coinage. Among other things, his studio was commissioned to complement the legs of Farnese's torso, which was found in 1546. The result was so convincing to his contemporaries that on Michelangelo's own advice he was approved to link the ancient limbs of the statue, which had been excavated. Today his works are to be found in various places of great historical and artistic significance, such as his sculpture of Moses in San Lorenzo de Fiori, or for example his works in the Giuliano chapel of the cathedral of Genoa, in Santa Maria del Popolo, and his bust of Paul III which is in the Museum of Capodimonte.

§ Simon Gudgeon (British, b. 1958). Bronze sculpture of a bird taking flight, with artists stamped artists initials, and numbered IV/XII, dated 2005 (MMV) to base. 53cm high. Purchased direct from the artist by the present owner. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information

§ Simon Gudgeon (British, b. 1958), bronze sculpture of two doves in flight, with artists initials, numbered XII/XII. Dated 2003 (MMIII). 46.5cm high. Purchased direct from the artist by the present owner. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information Condition Report: § General wear and tear consistent with age. Minor surface scratches. Potential discolouration towards the top of the sculpture. Good condition overall separately from these issues.

A 20th century cast bronze sculpture, as three greyhounds racing at speed integral naturalistic base, shaped oval black marble plinth, 26cm high, 52.5cm long

A lovely German bronze amusing sculpture mounted on a marble base, H. 23cm,

A Chola bronze figure of Shiva as Chandrashekhara South India, 12th/ 13th Centurystanding in sampada on a circular base, his principal right hand in abhayamudra and left hand resting below his waist, his upper hands holding the axe and antelope, wearing a short dhoti secured by a multi-stranded belt with festoons and sashes, adorned with elaborate jewellery, his face with serene expression and almond-shaped eyes, straight aquiline nose, the hair piled into a high headdress, backed by a halo, mounted on a stand 18.3 cm. high excluding standFootnotes:Provenance George Sheridan Collection, formed between the 1950s and 80s.Private US collection. George Sheridan (1923-2008) was one of the founding members of the artistic community of Deià in the Balearic island of Mallorca, among such illustrious residents as the poet Robert Graves. His painting style reflects the colour and rugged beauty of his adopted home in Spain, having spent many years working as an artist in London and Paris after leaving his native America. His influences included the art of India and the Himalayas, which he collected avidly and whose themes he incorporated into his work. He frequented Spink and Son whenever he was in London, becoming close friends with the legendary head of the Indian and Southeast Asian department, Anthony Gardiner, from whom he bought regularly. When in Paris he would buy from the leading dealers of the day, Jean-Claude Moreau-Gobard and Josette Schulmann. His eye for Asian art extended from the Buddhist sculpture of Gandhara, Nepal and Tibet, through classical Indian sculpture to the magical world of Indian miniatures.Having come to power in the mid-ninth century in the Tanjore District, Tamil Nadu, the Cholas built an empire that dominated the region and became the locus for great strides in bronze casting, resulting in elegant figures that balanced idealised forms with naturalistic modelling (see P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1998, p. 230). The present lot demonstrates these elegant forms, depicting Shiva as Chandrashekhara, 'Lord of the crescent moon', a connection forged by their shared symbolism of fertility and healing. A sculpture of Shiva Chandrashekhara dated to the 10th Century is in the Brooklyn Museum, New York, acc. no. 2007.2. Another example also featuring Parvati and dated to the 13th Century can be seen in P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1998, pp. 284-5, cat. 152.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 bronze sculpture of a five-headed horse, probably Uchchaihshravas, the vehicle of Indra India, circa 1800cast, prancing, with foliate carparison and harness with ornaments in the form of lotus buds, on wood stand 25 cm. highFootnotes:Provenance Christie's, Arts of India, 10 Jun 2013, lot 168.Private US collection. The present lot may depict Uchchaihshravas, the vehicle of the god Indra. Uchchaihshravas is most commonly depicted with seven heads, however this number is subject to change, as evidenced by the changing heads of the horse/horses who guide Surya's chariot (the number is most commonly seven, however images of him with a nine-headed horse also occur, such as in the lot sold in these rooms, Bonhams, Islamic and Indian Art Online Sale, 18 May 2022, lot 226). The discrepancy in the number of heads featured within the present lot may be due to the difficulty of producing such a complicated scheme via the medium of sculpture.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 bronze sculpture of a Siamese cat,modern,38.5cm highCondition ReportModern manufacture.Some pitting to ears and face. Some rubbing to legs.Good overall.

▴ Paul Margetts (b.1959),a bronze sculpture of a sail in the wind, on a stand, labelled to the underneath, 73.5cm highProvenance: The Collection of the former Dunhill Pipe Factory in Notting Hill.

▴ Joachim Jastram (German, 1928-2011),'Darber Pferd im Wind', 1962, a bronze sculpture, inscribed and dated '62', 23cm long17.5cm highCondition ReportPatina good. Base appears to have a crease in cast and some wear.Additional photos added.

▴ Carsten Fun Jensen (Danish, b.1954),a bronze sculpture, on a marble plinth, signed with monogram and numbered 1/3, 30.2cm highCondition ReportNibbles to the plinthPatina good overall. Not fixed to base.Adsitional images added.

A bronze sculpture of hands,1950s, signed indistinctly,48cm longCondition ReportFurther photos added

Josie Spencer (American, contemporary),a silvered bronze female torso, raised on an iron stand, 157cm overallBorn and educated in New York, Josie Spencer studied sculpture in Florence, at the Academia della Sculptura with Antonio Berti. At Sarah Lawrence College, New York, she studied sculpture with Ezio Martinelli and art history with William Rubin, Curator of the Museum of Modern Art. Before becoming a student at the New York Studio School for Drawing, Painting and Sculpture, she studied anatomy and drawing at the Art Students League. Josie later became a Board Member and Vice-Chair of the New York Studio School.She exhibited at a number of group and one-person shows in New York at galleries in Soho and Chelsea, before leaving for the UK, where she works in her own West London studio.Condition Reportsplits to the stretcher, knocks to the paintwork, seat rushing in good order, overall sturdy.

A bronze sculpture of a football club goat mascot,‘Hennes’ of 1. FC Köln (Cologne), signed ‘Hein Derichsweiler, Maskottchen I FC Koln’, 23.5cm highThere is also a 1.3m statue in the FC Köln clubhouse. These smaller bronzes were produced in a limited edition and only presented on special occasions, and to the players of FC Köln on winning the German Championship in 1964.

STATUETTE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉNépal, XIVe siècleA RARE GILT COPPER ALLOY FIGURE OF MANJUSHRINepal, 14th centuryHolding his hands in the teaching mudra, he gently looks down and enters a state of meditation, while a slight contrapuntal sway of his head and torso, his sword (now missing) and sutra emerge from two prominent lotus flowers by his shoulders and seated on a double lotus base. 12cm (4 3/4in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from The Handicrafts & Handlooms Exports Corporation of India Ltd., New Delhi, 17 August 1965Jean-Pierre Rousset, Paris (1936-2021)Manjushri is one of the most important and popularly invoked bodhisattvas in Mahayana and Vajrayana Buddhism. The Bodhisattva of Perfected Wisdom is represented here in a gem-like gilded image.The sculpting of the figure's powerful yet supple physique and the exquisite detailing of his regalia are hallmarks of Newari master craftsmen from the Kathmandu Valley working for Tibetan patrons. His robust body type and broad forehead conform to classic Nepalese aesthetics, as does the compressed lotus base with plump petals and ornamented lower register embellished with inset flower motifs. His necklace, armbands, and earrings, bedecked with inset stones supported by double beaded bands, complete the sculpture as a testament to the artist's skill.Another example is a 14th century gilt-bronze Maitreya or Manjushri in Drigung Monastery (U.von Schroeder, Buddhist Sculpture in Tibet, Vol.II, Hong Kong, 2001, pp.1032-1033, no.256D-E). Compare with a closely related Manjushri published in U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.376, no.100C.Manjushri est l'un des bodhisattvas les plus importants et les plus souvent invoqués dans le bouddhisme Mahayana et Vajrayana. Le bodhisattva de la sagesse parfaite est représenté ici dans une image dorée semblable à un joyau.Le travail du corps de la statuette est à la fois puissant et souple, et la précision des détails de ses insignes royaux est la marque de fabrique des maîtres artisans newaris de la vallée de Katmandou travaillant pour des mécènes tibétains. Son corps robuste et son large front sont conformes à l'esthétique népalaise classique, tout comme la base décorée d'un lotus aux pétales charnus et le registre inférieur orné de motifs floraux incrustés. Son collier, ses brassards et ses boucles d'oreilles, ornés de pierres incrustées sur des bandes perlées doubles, complètent la sculpture comme un témoignage de l'habileté de l'artiste.Un autre exemple est un Maitreya ou Manjushri en bronze doré du XIVe siècle au monastère de Drigung (U.von Schroeder, Buddhist Sculpture in Tibet, Vol.II, Hong Kong, 2001, pp.1032-1033, no.256D-E). Comparée avec un Manjushri très proche publié dans U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.376, no.100C.尼泊爾 十四世紀 鎏金銅文殊菩薩坐像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年8月17日得自新德里印度手工藝品出口公司巴黎Jean-Pierre Rousset（1936-2021）舊藏文殊菩薩為大乘與金剛乘佛教中最重要及最受崇拜的菩薩之一。此尊寶石般華美的鎏金銅像呈現出菩薩的圓滿智慧形象。 造像外型剛柔並濟，寶冠工藝精湛細緻，為加德滿都谷地的紐瓦里工匠受西藏信衆委託造像的風格特徵。造像體型健壯、前額寬闊、壓縮蓮花座上蓮瓣飽滿，下方綴以嵌寶花卉圖案，均符合尼泊爾古典美學觀念。嵌寶項鍊、臂飾及耳飾佩雙行串珠帶，工匠高超技巧由此可見一斑。 見一例藏於直貢寺的十四 世紀 鎏金銅彌勒佛或文殊菩薩像（U.von Schroeder，《Buddhist Sculpture in Tibet》，卷二，香港，2001年，頁1032-1033，編號256D-E）。比較極近似的一例文殊菩薩像，載於U.von Schroeder，《Indo-Tibetan Bronzes》，香港，1981年，頁376，編號100C。For further information on this lot please visit Bonhams.com

STATUE DE DIVINITÉ FÉMININE EN GRÈS, POSSIBLEMENT DURGACambodge, époque angkorienne, style du Koh Ker, Xe siècleA SANDSTONE FIGURE OF A FEMALE DEITY, POSSIBLY DURGACambodia, Angkor Period, Koh Ker style, 10th centuryThe robust figure stands in samabhanga, elegantly carved with hour-glass form torso, with full breast above delicately incised lines to indicate slight rolls of skin and sumptuous wide hips. She wears a long straight garment (sampot) flaring slightly at the bottom, with a large curling flap and incised vertical lines to indicate the fine pleats, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.50, no.12The Koh Ker temple complex, approximately 80km northeast of Angkor, was the capital of the Khmer Empire from 928-944 under the kings Jayavarman IV and Harshavarman II. Koh Ker's sculptural style is distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The broad flap of pleated fabric that hangs over the sash at the waist, a fashion which first appeared in the last quarter of the ninth century, then became the convention in the tenth century during the Koh Ker period and can also be seen on the male figure from Banteay Srei.Given the dominance of the Shaivite cult throughout the Koh Ker temple complex, it is most likely that this four-armed figure would have been Durga – the wrathful female aspect of Shiva. Compare with the complete cast bronze figure of Durga in the Cleveland Museum of Art (1996.27), and another fragmentary figure described as Durga in the Metropolitan Museum of Art, New York (2003.605). Also compare with another female deity in the Linden-Museum, Stuttgart. The hieratic monumentality of this rare female deity is balanced against the soft fleshy skin and flair of the curling flap that Jean Boisselier, in his review of Koh Ker sculptural style (Asie du Sud-Est, 1966, p.248) characterised as 'dynamic equilibrium'.Le complexe de temples de Koh Ker, situé à environ 80 km au nord-est d'Angkor, a été la capitale de l'empire khmer de 928 à 944 sous les rois Jayavarman IV et Harshavarman II. Le style sculptural de Koh Ker est distinct de ceux développés dans le voisinage immédiat d'Angkor. La sculpture en pierre, souvent de taille monumentale, est imprégnée d'un sens aigu du mouvement et d'une souplesse des formes. Le large pan d'étoffe plissée qui pend sur la ceinture à la taille, une mode apparue dans le dernier quart du IXe siècle, puis devenue la convention au Xe siècle pendant la période Koh Ker, est également visible sur la statue masculine de Bantreay Srei. Compte tenu de la prédominance du culte shivaïte dans l'ensemble du complexe de temples de Koh Ker, il est fort probable que cette statue à quatre bras soit Durga, l'aspect féminin courroucé de Shiva. Comparée avec la fonte complète de Durga en bronze du Musée d'art de Cleveland (1996.27), et avec une autre statue fragmentaire décrite comme étant Durga au Metropolitan Museum of Art, New York (2003.605). Comparée également avec une autre divinité féminine au Musée Linden, Stuttgart.La monumentalité hiératique de cette rare divinité féminine est contrebalancée par la douceur de la peau charnue et l'élasticité du rabat enroulé que Jean Boisselier, dans son analyse du style sculptural de Koh Ker (Asie du Sud-Est, 1966, p.248), qualifie d'« équilibre dynamique ».柬埔寨 吳哥時期 科克風格 十世紀 砂岩或杜爾加立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁50，編號12科克寺廟建築群位於吳哥東北約八十公里，928至944年間為闍耶跋摩四世與哈沙跋摩二世統治下高棉帝國之首府。科克雕塑風格與吳哥鄰近地區截然不同，常見砂岩雕像尺寸較大，造型靈活並充滿強烈動感。褶襉圍裙寛闊的上擺向外翻出垂在腰間，此服飾最早出現於九世紀下半葉，至十世紀科克時期已成慣例，於女王宮內神像上亦可見。 鑑於崇拜濕婆之風主導科克寺廟群，故此四臂像應為杜爾迦—濕婆女神憤怒相。比較一例完整的杜爾加銅像，藏於克利夫蘭藝術博物館（1996.27）、另見一例杜爾加像殘件，藏於紐約大都會藝術博物館 （2003.605）。再比較一例女神像，藏於斯圖加特林登博物館。 此尊罕見女神像極具宗教藝術的神聖宏偉，與其柔順飽滿的肌膚及摺裙的捲邊上擺互起平衡作用，Jean Boisselier在《Asie du Sud-Est》，1966年，頁248的科克寺雕塑風格評論中稱之為「動態平衡」。For further information on this lot please visit Bonhams.com

LARGE ABSTRACT BRONZE SCULPTURE 89CMS (H) APPROX

A BRONZE SCULPTURE OF A MARE AND FOAL, on a wooden stand marked on base P.J. Méné , height 33cm (1)

Bronze einer knienden Frau, 2. Hälfte 20. Jhdt. Bronze, patiniert. Vollplastische Figur einer knienden Frau mit leichtem Kleid, die linke Brust unbedeckt. Die Arme stützend in die Höhe gehoben, wohl ursprünglich der Fuß eines Salontisches. Höhe 80 cm. A bronze sculpture of a kneeling nude, 2nd half of the 20th century Bronze, patiniert. Vollplastische Figur einer knienden Frau mit leichtem Kleid, die linke Brust unbedeckt. Die Arme stützend in die Höhe gehoben, wohl ursprünglich der Fuß eines Salontisches. Höhe 80 cm.