We found 6633 price guide item(s) matching your search

A Deer, bronze sculpture, marble base, French, 20th C., small fautls on the patine, latyer edition, signed J. MOIGNIEZ - probably Jules Moigniez (1835-1894), Dim. - (bronze) 69 cm; (total) 74,5 cm

A dancer, Art Noveau, bronze sculpture with partially gilt patina, marble base, European, 20th C. (1st quarter), large chip on the edge on the back of the base, Dim. - (total) 55,5 cm

A dancer, marble sculpture, according to the original by António Canova (1757-1822) which is on display at the National Gallery of Canada, European, 19th/20th C., non-original alabaster base, samll chpis Notes: vd. https://www.gallery.ca/collection/artwork/dancer - consulted on 13-2-2024, at 13:31, Dim. - (escultura) 86 cm; (total) - 134 cm

"Venus Italica", marble sculpture, according to the original by António Canova (1757-1822) which is on display in the Galleria Palatina, Palazzo Pitti, Florence, European, 19th/20th C., non-original alabaster base with fault, small restorations and small chips on the base Dim. - (escultura) 92 cm; (total) 138 cm

ROLF HARRIS (AUSTRALIAN 1930-2023) 'INTUITION' a limited edition bronze sculpture of a pair of hands 177/595, signed and numbered with certificate and box, height including black marble plinth approximately 29cm x length 24cm, Condition Report: patina rubbed in places, outer box tatty

Ancient Greek goddess head sculpture [Plaster] raised on a marble base [11x19cm]

After the Antique, a modern bronze sculpture, modelled as a Borghese Gladiator, bears signature 'Moreau' to base, on marble plinth, 25 by 13 by 42cm high.

A cast bronze sculpture, modelled as Mercury, standing and reaching down to his ankle, on marble socle, 16 by 57cm high.

Italian Art Deco Bronze Sculpture "Vittoria" Modelled holding a laurel wreath aloft, patinated finish throughout, mounted on square section marble plinth base, bearing A. de Dominicis Roma retailer's label.40.5cm highLoss to rear right lower corner of base, several fissures running through the marble, otherwise light general wear but no other major issues to note; approximate date circa 1930s-50s.

# Peter RANDALL-PAGE (British b. 1954) Night Song Verde Patricia Marble and Bronze sculpture Carved and cast, 1984 Height 43cm, Length 20cm Provenance: Mr R. Warby purchased 1985 from The Anne Berthoud Gallery, Bristol Exhibited: 1985 New Work, 1984 Anne Berthoud Gallery, Bristol, 1992 Peter Randall-Page Sculpture and Drawings 1980 to 1992, Leeds City Art Gallery and Yorkshire Sculpture Park

A bronze sculpture of boxing hares on a marble plinth, marked Nick, 25cm tall

A modern bronze sculpture of a nude seated upon a column, hand outstretched with bird, marble base 42.5cm total height

Iluis Jorda and Roland Chadwick - two 20th century bronze resin statues of nude figures. The lot comprising a sculpture titled Serenity depicting a nude woman atop a rock, mounted on marble base and signed Iluis Dorda, the other comprising a pair of lover in an embrace signed Roland Chadwick 1986. Tallest measures approx. 35cm tall.

Cast bronze sculpture after the marble "Hermes and the Infant Dionysus" that was rediscovered in 1877 in the ruins of the Temple of Hera, Olympia, in Greece. The original marble sculpture is displayed at the Archaeological Museum of Olympia.Height: 28 1/2 in x width: 11 in x depth: 12 in. Weight: 48 lbs 13 oz.Condition:No major bends, scratches, or losses. Areas of tarnishing and discoloration throughout. Some accretions throughout, especially along the draped fabric. Dust and dirt gathered in the recessed areas.

Continental School (19thC). A bronze sculpture of two frolicking boys, on a circular base and black marble or slate socle, 12.5cm high.

After Pierre-Jules Mene (French 1810-1879). "Accolade", a gilt bronze sculpture of horses, on a red marble base, 14cm wide.

Sir Jacob Epstein (1880-1959) "Tiger King (Man of Aran)" bronze, approx. 43.8cms, (17 1/4") mounted on a stepped marble base. (1) With his strong jaw, dark curly hair and determined expression, Colman “Tiger” King (1900-1976), was an ideal choice to play the lead role in Robert Flaherty’s 1934 film Man of Aran. King played the role to perfection, showing great courage in rowing a currach through rough seas. However, being a real Aran Islander, he had little time for the hype and publicity surrounding the film’s premiere in London. King had served in the Irish army and in addition to farming on the islands, was a blacksmith and fisherman. Although he and Flaherty had a temperamental working relationship, the film director brought King to Jacob Epstein’s studio, where the sculptor created a portrait bust of the islander that captured his proud and independent personality. After the success of Man of Aran, King settled in London, where he lived until his death in 1976. He is buried in the graveyard at Cill Éinne. The bronze casting of his portrait bust was limited to an edition of eight. One of the casts is in the Walker Art Gallery in Liverpool, while in 1963, another was presented to the Hugh Lane Gallery, by the Friends of the National Collections. The present cast was in the collection of Nelson Bell in Belfast. Born in Hester Street, in New York, as a teenager Jacob Epstein attended classes at the Art Students League. While studying sculpture at the Art Students League, he tried his hand at several jobs, before being employed as an assistant in a bronze foundry. He also drew and painted, and in 1902 produced illustrations for The Spirit of the Ghetto, a study of New York’s Lower East Side by journalist Hutchins Hapgood. With the money earned from this commission, Epstein travelled to Paris, enrolling at the École des Beaux-Arts and the Académie Julian. From the outset, through his study of African and Polynesian art, his sculptures were characterised by their vigorous, rough-hewn, ‘primitive’ quality. In 1905 he moved to London, where he joined the New English Art Club, and two years later was commissioned to create a set of sculptures for the British Medical Association’s new headquarters on the Strand. These proved controversial for their frank portrayal of the human body. In 1908, influenced by the work of Eric Gill, Epstein carved a tomb for Oscar Wilde, an equally controversial commission, which was unveiled in Père Lachaise cemetery in Paris. Two years later, now enjoying the patronage of the New York collector John Quinn, Epstein became a British citizen. The critical reception to his work was often hostile, but eventually, through his public sculptures, as well as portrait busts and other work, he came to be regarded as one of the finest sculptors of the twentieth century. In 1910 he sculpted a portrait bust of Lady Gregory. He also sculpted busts of Joseph Conrad, Paul Robeson, George Bernard Shaw and Albert Einstein. Peter Murray 2024 Provenance: Nelson Bell Collection - The Bell Gallery, Belfast

Francis Wiles, Irish (1889-1956) "Resting Nude," marble, signed  and dated 'F. Wiles, 1932' approx. 20"high x 30" long. (1) Naturalistic, but with a degree of stylisation, Frank Wile’s marble sculpture Seated Woman depicts a nude figure, turning, with her head resting on her hands. Both the woman and the rock she sits on are carved from one piece of stone. The artist’s working of stone, and his depiction of the human form, reveals the influence of Oliver Sheppard, and in turn Auguste Rodin. The smooth polished legs and arms of the woman contrast with areas of stone left roughly chiselled. The theme of this work relates closely to Wiles’s 1914 bronze The Dawn of Womanhood, in the Ulster Museum,   Born in Larne, Co. Antrim, Francis Wiles was the son of David, a civil servant, and Margaret Wiles, an accomplished woodcarver. Francis—or Frank as he was known—studied at the Belfast School of Art under Seamus Stoupe, and also at the Metropolitan School of Art in Dublin, where his tutor was Oliver Sheppard. He assisted Sheppard and also later taught at the Metropolitan School. Wiles was a prize-winning student, winning the Patterson scholarship at the Belfast School of Art, and a Gold Medal at the MSA in 1913. During his career, he specialised in portraits and figurative sculpture and allegorical works. He became a member of the Royal Ulster Academy, and also exhibited at the RHA, RA and RSA. Among the public sculptures he worked on are the War Memorial in Newcastle, Co. Down. This was designed by Lady Mabel Annesley, who commissioned Wiles to sculpt a lion, using granite from the Mourne mountains, in a style that echoes Assyrian and ancient Egyptian sculpture. In 1927 hr exhibited a granite sketch design for the lion at the RHA. That same year he showed a bronze relief portrait of the President of the Supreme Court in the Irish Republic, J. Creed Meredith, at an exhibition of “Irish Portraits by Ulster artists”. A memorial exhibition of Wiles’s work was held at the Old Museum, Belfast, in 1958. There is also a sculpture by him at St. Columba’s College in Dublin. Peter Murray 2024 Provenance: The Bell Gallery, the Personal Collection of Nelson Bell.

Gary Trimble, A.R.HA. (1928-1979) "Sean Keating," bronze, mounted on white marble, signed  in initials on back, approx. 51cms (20") high overall. (1) With its robust and vigorous modelling, Trimble’s portrait bust of Sean Keating captures perfectly the individualistic personality of the sitter. Keating is portrayed as weather-beaten and bearded. His quizzical expression is reminiscent of an Aran fisherman. A renowned figurative painter, Sean Keating held the people of the Aran Islands in high regard, seeing in them an honesty and grace that was rapidly being lost in Ireland as the twentieth century advanced. Trimble shared Keating’s vision, and many of his bronze portrait busts are of remarkable individuals who contributed to a sense of nation; artists, actors and writers. He sculpted portrait busts of writers James Joyce and James Plunkett, the jockey Lester Piggott, political leaders Michael Collins and Eamon de Valera, artist Christy Brown and the actor Cyril Cusack. He also sculpted animals, as with his 1978 bronze Panther and his 1973 King of the Burren. Trimble’s bronzes were generally cast in the Dublin Art Foundry.   Born in 1928, Gary Trimble trained as an architect, qualifying from UCD in 1952. He exhibited with the RHA from 1959 onwards. While working with the Office of Public Works, he also made sculptures, often for new schools being built by the State. His War of Independence memorial, representing three figures on a tall stone base, was unveiled in 1963, at Elphin in Co. Roscommon. Ten years later Trimble retired from the OPW, to concentrate on his sculpture. His first one-person exhibition was held in Dublin in 1971, but his career was tragically cut short when he died in a road accident eight years later.Peter Murray 2024 Provenance: The Bell Gallery, the Personal Collection of Nelson Bell.

An early/mid-20th century bronzed spelter sculpture of a blacksmith after J. Causse, on simulated marble socle, 64cm high (repair to arm).

Italian School, 19th centuryCrouching VenusA marble sculpture after the antiqueItaly, late 19th century62x25,5x33,5 cm

A Verdi Gris bronze sculpture modelled as two frolicking horses raised on marble base. Height 30.5cm.

This elegant patinated bronze statue is made after Classically trained French sculptor Antonin Mercie's original David vainqueur de Goliath (David Defeating Goliath.) This version includes a loincloth added for propriety after the 1890s unveiling of Mercie's original. The head of Goliath under David's foot has been replaced by stabs of stone that remove its Biblical subject matter. The sculpture is placed on an imposing marble and bronze base that emphasizes David's stoicism. No visible markings. Dimensions without base: 6.50"L x 6"W x 13.50"H. Dimensions of base: 7"L x 7"W x 6.50"H. Artist: After Antonin Mercie (French 1845-1916)Issued: 20th centuryDimensions: 7"L x 7"W x 20"HCountry of Origin: FranceCondition: Age related wear.

The "Head of Diana" is a famous sculpture depicting the head of Diana, the ancient Roman goddess of the hunt, the moon, and nature. This artwork is part of the rich tradition of Roman sculpture and represents a timeless portrayal of the goddess. Here are some key details about the "Head of Diana":1. **Origin**: The "Head of Diana" is believed to be a Roman copy of an earlier Greek original. Roman artists frequently drew inspiration from Greek mythology and sculpture, adapting and reproducing Greek works in a Roman context.2. **Material**: The sculpture is typically made of marble, which was a common material used in classical sculpture. The use of marble allowed for intricate and detailed carving.3. **Attributes of Diana**: Diana is typically depicted as a young and beautiful goddess. In Roman mythology, she was associated with the moon, hunting, and the wilderness. She is often portrayed wearing a diadem or a crescent moon on her forehead, holding a bow, and accompanied by a hunting dog or other wild animals.4. **Style and Beauty**: The "Head of Diana" is celebrated for its idealized depiction of feminine beauty. The sculpture captures the graceful and serene expression of Diana, emphasizing her divine qualities.5. **Cultural Significance**: Diana was a significant deity in Roman religion and mythology. She was often invoked by hunters and those seeking protection during the hunt. Additionally, she was associated with childbirth and women, making her a multifaceted and revered figure in Roman society.6. **Artistic Influence**: Sculptures of Diana, including her head, were influential in the development of artistic depictions of goddesses and idealized female forms in both Roman and subsequent Western art. The portrayal of Diana's serene and noble countenance has had a lasting impact on the representation of beauty and femininity.7. **Museum Collections**: Fragments and copies of the "Head of Diana" can be found in various museums and collections around the world, including those specializing in classical art and antiquities. They serve as examples of the enduring appeal of Roman art and mythology.8. **Mythological Significance**: In Roman mythology, Diana was considered the counterpart of the Greek goddess Artemis. Both were associated with hunting and the moon. As with other Roman deities, Diana's attributes and significance were adapted and expanded upon from their Greek counterparts.The "Head of Diana" is a testament to the skill of Roman sculptors and their ability to capture the essence of classical deities in their artwork. It remains a symbol of the enduring appeal of ancient mythology and the enduring beauty of classical sculptureMeasures 10 x 6 x 13.Made in France.Composite and alabaster.

Art Nouveau style Bronze Sculpture of an Egyptian Belly Dancer supported on a marble plinth, signed Satirios [55cm]

  Abstract marble sculpture cm 53x25,5

Rhombus sculpture in white marble and gray stone Signed at the bottom Es 118/200 cm 28x25,5

A bronze sculpture of a lions head, signed 'P.J.Mene' later casting, upon a square polished marble plinth, 26cm tall.

Modernist/abstract curved marble sculpture, 59cm x 20cm x 25cm high

Modernist abstract slate sculpture, mounted on rectangular grey marble base, signed 'BL 99', 39cm high

Italian School, late 19th Century, a marble sculpture of a classically draped female nude, modelled standing against a rockface, 65cm high (s.d)

CARL KAUBA (AUSTRIAN, 1865-1922), 'BARE ON BEAR', COLD PAINTED BRONZE METAMORPHIC SCULPTURE, EARLY 20TH CENTURY the erotic sculpture modelled as female in draped gown reclined on a bear pelt, the gown with a hinged belt opening to elevate and reveal the nude female, signed C. Kauba to pelt, on stepped marble base 24cm wide Additional images now available.  with some light damage to the corners and edges of the marble base. looks ok other than that with only general age associated wear. Mechanism working.

BRONZE ART SCULPTURE DANCER MARKED DH CHIPARUS ON MARBLE BASE APPROX 19" TALL

AN ART DECO STYLE BRONZE SCULPTURE GIRL WITH A HOOP, SIGNATURE A. LEONARD ON MARBLE BASE, APPROX 18" TALL

Paul Granlund (American, 1925-2003). Cast bronze sculpture titled "Head of a Young Man" in the form of a man's head, 1964. Signed, dated, and numbered 1/3 along the edge of the bronze base. Affixed to a black marble base.Reference:William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 90, plate 226.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 221, plate 226.(Including marble base) height: 16 in x width: 8 1/2 in x depth: 8 in. Weight: 18 lbs 12 oz.Condition:The bronze is in good condition with no deep scratches or losses. Some light dirt/dust accumulated in the recessed areas. Light wear including a few small frits along the edges of the marble base.

Peter Lupori (American, 1918-2014). Charcoal on paper drawing depicting a classical marble bust, 1940. Signed and dated along the lower center.Lupori's dedication to art spanned over four decades at St. Catherine, where he encouraged creativity among his students. His diverse body of work, from sculpture to watercolor, not only graced prestigious institutions but also inspired countless artists, showcasing his enduring passion for art as both a profession and lifelong pursuit.Sight; height: 23 1/2 in x width: 17 1/2 in. Framed; height: 32 in x width: 26 in x depth: 1 1/2 in.Condition:The colors are bold and deep. There are no visible tears, creases, losses, or restorations when inspected under UV light. Edges and verso not inspected. Framed under glass; light wear to the frame. Not inspected out of frame.

Art Deco glass lamp shades and an Art Deco sculpture of a bird, on marble plinthAppears in good condition. No immediate signed of damage.

Art Deco French sculpture of a golden pheasant on marble plinth, a pair of 19th century style cast iron door stops and a pair of glass hurricane lampsThe pheasant is in good condition with some minor age-related surface wear.

Limited edition sculpture exclusively for Royal Mint Classics. Depicts soldier Saint George slaying the dragon that represents sin. Marble-like Wallbody bone china finish with gilded sword and title to base. This item has its original box. Box measures: 12.5"L x 8"W x 11.25"H. Certificate of Authenticity included. Artist: Scott ShoreIssued: 2004Dimensions: 9.5"L x 6.5"W x 11"HEdition Number: 2 of 50 Manufacturer: Royal WorcesterCountry of Origin: EnglandAge related wear.

A recast piece that captures the essence of the wild west by featuring a cowboy on a horse. Bronze is attached on the black and gray marble base. Title plaque on the base. Frederic Remington Copyright engraved on the sculpture. Artist: Frederic RemingtonDimensions: 16"L x 9"W x 23.25"HCondition: Age related wear.

Conrad Portalis (French, 1890-1969), large bronze sculpture on an oval marble plinth. En nom de Dieu en avant (Forward in the name of God). Heroic bronze, depicting a rider on a rearing horse, with a raised Christian banner. The collective image of the army of Christ (St. George, Jeanne D-Arc, etc.), defenders and servants of the faith. In a more general sense, it is an image of goodness with fists. Patinated bronze. Signature on the pedestal, approximate dimensions without base H - 80 cm, 45 x 25 cm. Width: 48cm, Height: 88cm, Depth: 30cm, Weight: 15kg, Condition: Good, Material: Marble

Marble sculpture Bathing of Venus. 19th-20th century. Marble sculpture Bathing of Venus. The textbook iconography dates back to the Roman example of the same name from the 2nd century BC. The goddess sits down and draws water from a sacred spring. Multidirectional movements of the hands and head focus attention on the gaze, as if containing a question about the nature of the divine. The gaze is turned to the water or reflection. Leaving a jug prolongs the time of contemplation. Figure dimensions: 89x50x49 cm. Weight: 120 kg. Width: 50cm, Height: 89cm, Depth: 49cm, Weight: 120kg, Condition: Good, Material: Marble

Resin Sculpture of a Farmer with Lamb 69 of 1250 mounted on marble base 27cm in Height

'A lion fighting a snake' - bronze sculpture based on an original by Antoine Louis Barry, (Antoine-Louis Barye, 1795-1875) who was first sculpted in 1835 and is now (the original) in the Louvre Museum in Paris, dark brown patina and black marble base, signed, Total height: 36 cm, Total width: 40 cm. Period: 20th century

After Auguste Rubin (France, 1841-1909) - An Art Nouveau inspired lost was bronze sculpture of chained man against rock. The statue signed to base. All raised on marble plinth base. Measures approx. 34cm tall.

SIR JACOP EPSTEIN (BRITISH, 1880-1959)The Putti, Fifth and Sixth Portraits of Peggy Jean at Two (conceived in 1920) signed with monogram 'JE' (on the back of the neck) bronze 35.5cm wide on a marble base ARR Provenance Private collection, UKVIEWING NOTICEThis work will be on view in London on 7th & 8th May4 Cromwell Place, South Kensington, London, SW7 2JETuesday 7th May 3pm-6pmWednesday 8th May 9am-4pmPlease click here for more details. LiteratureA. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell, A Series of Conversations on Art, London, 1931, p. 179 (another cast illustrated);R. Black, The Art of Jacob Epstein, New York, 1942, no. 88, pl. 11 (another cast illustrated);R. Buckle, Jacob Epstein Sculptor, London, 1963, p. 103, pl. 161 (another cast illustrated);E. Silber, The Sculpture of Epstein, Oxford, 1986, no. 116, p. 148 (another cast illustrated)

A South East Asian marble sculpture of Buddha, 20th c, 41cm h No significant damage, organic stains from exposure in a garden

A German bronze sculpture of a blacksmith, cast from a model by Julius Schmidt Felling, c1900, brown patina on stepped marble base, 45.5cm h Good

A Grand Tour bronze sculpture of Sallust, 19th c, rich greenish brown patina rubbed in places, on Siena marble base, 44cm h Good condition save for tiny nick on corner of base

A PAIR OF ITALIAN WHITE MARBLE LIONS 18TH CENTURY IN THE RENAISSANCE STYLE Reclining lions formerly supporting columns 54cm high, bases 33.5cm wide, 94cm long Condition Report: Weathering throughout and with colour variance from exposure- wear, marks, knocks and scratches as per age, handling, use, and cleaning. Losses to plinth edges and corners (one repaired) losses to claws and other details and with natural faults- some of which are exacerbated by outdoor use notably to neck to one. Formerly with columns above- removed by Ken Bolan. Whilst these have spent the majority of their life outdoors- and in this country. We would suggest that if these are placed outside- then they should be treated as per National Trust provision for marble outdoor sculpture and wrapped in fleece or similar during frost periods. Please 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. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

HERBERT WARD (1863-1919) AFRICAN HEAD Bronze, marble base Signed Height (overall): 27.5cm; 10¾, base: 5.5cm; 2 in. wide Herbert Ward was a British sculptor, illustrator and writer. He spent 5 years in the Congo as an officer in the New Congo State and lieutenant of the Emin Pasha relief expedition. His tours in Africa inspired his future artworks which eventually led him to France to work on sculpture from 1899 onwards.

AFTER THE ANTIQUE- A BRONZE FIGURAL GROUP OF CLOTHO AND ATROPOS MID 19TH CENTURY The two Fates depicted spinning yarn, mounted on giallo marble base 23.5cm high, bases 35.5 cm wide, 16.5cm deep This work depicts Clotho and Atropos, who, along with Lachesis, make up the Three Fates in Greek and Roman mythology. The design is based on a Classical sculpture of ancient Greece, which originally formed part of the East pediment of the Parthenon, and is now housed in the British Museum, London Condition Report: Some paler patina to raised areas from handling, marks, knocks and scratches as per age, handling, use, and cleaning. Slight movement between individual cast areas. Please 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. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

De Kernalan (Austrian, late 19th/ early 20th century) an Art Deco bronze sculpture of a Turkish dancer, impressed ‘Kernalan’ to base, after the original bronze sculpture by Rene Paul Marquet, on domed marble base,38.5cm high

A MODERNIST POLISHED BRASS TWISTED SCULPTUREIn the manner of Robert J Mitchell, 20th Century Apparently unsigned, on green marble base, 41cm high

A FRENCH PATINATED BRONZE SCULPTURE OF A STANDING BULLCirca 1880 Mounted on a Louis XVI style gilt-metal mounted rouge griotte marble plinth base with beaded border, 44cm high x 41cm wide including baseCondition Report:Some variation to the patination on the bull as expected.Base - Some small cracks, chips and repairs. See additional images. The beasing is loose at one end but stays in the correct place. Wear to the gilding. 

A carved section of an early 20th century marble sculpture. Modelled as the lower torso and thighs of a figure in a bathing costume, H19cm

AFTER THE ANTIQUE, A FIBREGLASS MODEL OF THE GADDI TORSO MODERN Modelled to simulate sculpted white marble, truncated by design after the antique original 82cm high The marble Gaddi Torso displayed in the Classical Sculpture Room of the Uffizi Gallery in Florence is a Hellenistic work of the 2nd century BC. Its dynamic tension and unusually refined modelling almost certainly place it amongst sculptures of the Pergamene school. Formerly considered to be the torso of a satyr when it was in the Gaddi collection in Florence, the sculpture is now thought to represent a centaur straining against his bonds, a theme that was represented several times in Hellenistic art, as it was an emblem of civilized control of Man's baser nature. The torso was very likely discovered in Rome, according to Giovanni Di Pasquale and Fabrizio Paolucci. It was certainly already in the collections of the Gaddi family in the early 16th century, when Florentine artists and sculptors knew it Condition Report: Overall this is of recent (21st century) manufacture and is aged to look like the antique, with simulated wear and losses (truncating at limbs) in line with the antique original - surface similarly 'scuffed' and 'degraded' but is only simulationThis stood on a black metal 'museum' type base Please see additional images for visual reference to condition and appearance Condition Report Disclaimer

G. MALFAIT (XX) 'Resting Lady' A sculpture made of Carrara marble. The statue is signed on the backside.Dimensions without the green marble. Dated 1946. Dimensions: (L:22 x W:60 x H:21 cm)

A bronze coloured sculpture of a dancing lady, on a marble base, 165cm hLocation:If there is no condition report shown, please request

A bronze sculpture of a Greyhound, on oval marble plinth, H29cm