We found 6635 price guide item(s) matching your search

A bronze sculpture, of a baseball pitcher, rectangular marble base, 28.5cm high

A MARBLE OVOID FORMED ABSTRACT SCULPTURE39cm longCondition Report:Pitting and veining as expected to occur naturally. One felt dot missing from the base. 

AFTER MATHURIN MOREAU: A BRONZE FIGURAL SCULPTURE OF A WOMAN AND HER CHILDREN19th CenturySigned to the integrated naturalistic base, on a black marble base, 72cm high

A BRONZE SCULPTURE OF A VIOLINIST AND ANOTHER CAST METAL SCULPTURE OF AN ANCIENT WARRIOR (2)ModernThe figure on a black marble base, apparently unsigned, 88cm high; Together with a cast metal sculpture of an Ancient warrior, entitled ‘Honor Patera’ to the base, 79cm high

A Gothic-style marble garden sculpture, modelled as a robed monk, raised on a hexagonal marble support, carved throughout with Gothic arches and niches, inscribed to the base of the monk 'Solitarius Locus Sanctus', 162cm highCondition ReportWith some chips to the figure. The surface with stains and weathering throughout. Please see the additional images.

2 x Jonathan Adler Brass Misia Sculpture Hand Sculpted In The Designers Soho Studio Then Sand Cast In Brass And Hand Polished Mounted On Marble Base 24.13 x 16.21 x 15.24cm (Room 710 & 711)

A BOXED FRANKLIN MINT 'SPIRIT OF THE HORSEMEN' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Omaha warrior performing a night dance or hohewachi, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 27cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE GRIZZLY BEAR' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Osage Warrior, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 41.5cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE RAVEN' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Cheyenne Dog Soldier, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 26cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE BLACKBIRD' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Blackfoot Raven Bearer Warrior, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 29cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with a little minor paint loss and verdisgris to right hand, sd to box)

A COLLECTION OF SEMI-PRECIOUS MINERALS, GEODES, FOSSILS AND VINTAGE STUDIO CRAFT SCULPTURES, comprising three mid-century naturalistic wooden sculptures, a naturalistic white marble sculpture, length 57cm x 23cm, a turned wooden truncheon, an Aztec/Mayan style pipe, a South Asian style club, a hardwood hand carved Rhinoceros figure, a Yerba Mate gourd cup with an embossed white metal rim, two Butterflies encased in coloured resin, Desert Rose gypsum selenite crystal, an Agate crystal geode, amethyst geodes, fossilised deer bone and horn, etc. (2 trays + loose)

A BOXED FRANKLIN MINT 'SPIRIT OF THE RED FOX' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Arikara Fox Warrior, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 25cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE CROW' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Crow Leader of the Crazy Dog Society performing the 'Hot Dance', with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 26cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE THUNDERBIRD' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Sioux 'grass dance', with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 26cm (1 + box + certificate of authenticity) (Condition Report: has some verdigris to foot and base, otherwise sculpture appears in good condition with no obvious damage, sd to box)

A BOXED FRANKLIN MINT 'SPIRIT OF THE HAWK' BRONZE SCULPTURE, after Robert F Murphy, depicting a Native American Kiowa Blackleg warrior, with painted details, printed signature and title underneath its wooden and marble plinth, height including plinth 26cm (1 + box + certificate of authenticity) (Condition Report: appears in good condition with no obvious damage, spear is in its original wrapping, sd to box)

A pair of contemporary rouge veined marble and gilt brass mounted pedestal sculpture stands, each of square form and raised on reeded columns, h.100cm

Sculpture in Marble of a semi nude unsigned 27cm in Length

A patinated bronze elephant sculpture, on green marble base, base length 27cm

Mid-20th century patinated bronze torso sculpture on green marble base, unsigned, height 17.5cmGood condition

AR * Manner of John Rattenbury Skeaping (1901-1980). Faun, circa 1925, carved marble sculpture of a faun, 16 x 19 x 8 cm (6 1/4 x 7 1/2 x 3 1/8 ins), mounted on a wooden plinth, overall height 18.5 (7 1/4 ins) and width 19.8 cm (7 3/4 ins) QTY: (1)

Metal sculpture of a sleeping child and protective dog on marble base

An Art Deco sculpture after L Carvin, of a German shepherd dog standing at the ready on a stepped marble base, height 42cm.

The Madonna of Bruges by Michelangelo or the Virgin and Child, a preparatory sketch for his famous marble sculpture, framed H.94 W.62cm.

A ballerina, Patinated bronze sculpture, Black marble stand, Marked E. Degas, 46 cm (total)

Georges Bareau (1866–1931)Vox Pacis, Patinated bronze sculpture, Marble stand, Signed to base, Height: 76 cm (total)

After François Girardon (French 1628-1715): The Abduction of Proserpine by Pluto, brown patinated bronze, 102cms high overall, base 36 x 38cms.NB François Girardon was a sculptor widely regarded for his statuary in the gardens of Versailles. Girardon lived and apprenticed in Rome for a period, and although the artist preferred classicism and ancient Roman sculpture, he often worked in the Baroque style.Louis XIV commissioned Girardon to create one of four monumental marble groups intended to decorate the corners of Charles Le Brun's never-completed garden at Versailles, the Parterre d'Eau. Each group of three figures symbolized one of the four elements: earth, air, water, and fire. Pluto's association with Hell made him an apt symbol of fire.Girardon's marble was reproduced as a small bronze from the late seventeenth century onwards.This figural group exemplifies the movement, vibrancy, and energy highly regarded at the time. Girardon's design is perfected by not only the twist of the composition, but also the classical clarity of the figures.The Wallace Collection in London, the Louvre, Windsor Castle and the Getty Museum in Malibu own identical pieces in varying sizes but this example is amongst the largest examples.

After the Antique: The Jennings Dog, patinated bronze, on marble base, 13cms high.Notes: The Jennings Dog (also known as The Duncombe Dog or The Dog of Alcibiades) is a Roman sculpture of a dog with a docked tail. Named for its first modern owner, Henry Constantine Jennings, it is a 2nd-century AD Roman copy of a Hellenistic bronze original. The original was probably of the 2nd century BC. It is 1.05 metres (3 ft 5 in) high; its leonine muzzle and one leg have been repaired since its rediscovery.

After the Antique; The Dying Gaul, patinated bronze, 15 x 8 x 7cms high.Notes:The Dying Gaul, also called The Dying Galatian or The Dying Gladiator, is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost sculpture from the Hellenistic period (323-31 BC) thought to have been made in bronze. The original may have been commissioned at some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.Until the 20th Century the marble statue was usually known as The Dying Gladiator, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. However, in the mid-19th Century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's torc, thick hair and mustache, weapons and shield carved on the floor, and a type of Gallic carnyx between his legs

Byron Howard (b.1947): "Barbirolli's Hands"/"Rarely, Rarely, Cometh Thou Spirit of Delight", modelled as the music conductor Sir John Barbirolli's hands outstretched and in motion, with verse inscribed on the composer's cuff, patinated bronze on a marble plinth, with brass plaque, limited edition 2/6, 42cms long, 31cms high x 32cms wide.Provenance: Purchased by Mr and Mrs Brown from the Artist's studio in Fishlake near Doncaster in 2005. With certificate of authenticity.The artist Byron Howard attended Doncaster School of Art in the late 1970s/early 1980s which was run by the above Ken Brown. So impressed was the staff that Byron was invited to take the sculpture class himself. Byron was later invited by Lady Barbirolli to produce a bronze bust of Sir John which now is sited outside Manchester Free Trade Hall in recognition of Sir John in setting up and conducting the Halle Orchestra. Mr and Mrs Brown would attend the concerts conducted by Sir John in the 1950s, a connection which also attracted them to the sculpture.

After the Antique: Apollo Belvedere, patinated bronze, on marble base, 25cms high.Note: The Apollo Belvedere (also called the Belvedere Apollo, Apollo of the Belvedere, or Pythian Apollo) is a celebrated marble sculpture from classical antiquity. The Apollo is now thought to be an original Roman creation of Hadrianic date (c. 120–140 AD), though in a Hellenistic style. The distinctively Roman footwear is one reason scholars believe it is not a copy of an original Greek statue. It was rediscovered in central Italy in the late 15th century during the Italian Renaissance and was placed on semi-public display in the Vatican Palace in 1511, where it remains. It is now in the Cortile del Belvedere of the Pio-Clementine Museum of the Vatican Museums complex.

A South East Asian marble sculpture of the head, of an immortal,  29cm h, on wood stand No substantial damage, old settled dirt and grime

A Greek Art Deco marble sculpture, 'The Book', 1931, Naxian marble on a driftwood base, signed Eleni Kapiri,33cm wide15cm deep36cm highCondition ReportWith a chip to the top corner.

A pair of English turned black marble sculpture plinths, one engraved with gilt lettering 'REYNOLDS', the other 'HOGARTH'each 30cm diameter x 13cm highQty: 2Slight bloom to the surface of the marble. Very minor chips and marks overall.

bronze sculpture on a marble base, signed, edition 235/250, height 13cm, with certificate of authenticity. *Condition: Needs a clean.

A MODERN FLYING BIRD SCULPTURE on a marble base. 9ins high.

An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria.  He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon.  Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com

Harriet Goodhue Hosmer (American, 1830-1908): A carved white marble figure of 'Puck' together with an unsigned companion pendant figure of 'Will o the Wisp' (third version)Circa 1864The figure of Puck seated on a toadstool, with scallop shell headdress and bats-wings, holding a stag beetle in his right hand, his left hand resting on a lizard, on oak leaf square plinth base, titled to the front and signed to the rear H. Hosmer Fecit Roma, the figure of Will o the Wisp with flaming curling hair and bats-wings seated on an acanthus leaf rusticated pedestal and titled square plinth base, the toe of the former now lacking and the finger to the latter detached but present 81.5cm and 78cm high respectively (2)Footnotes:ProvenancePhillips Son & Neal, Contents of Park Hall, Hayfield, Derbyshire, 5th April 1978.The present lot, comprising a pair of figures, one signed, the other unsigned but similarly attributed, are from a series of playful compositions by America's foremost female Neoclassical sculptor of the 19th century, Harriet Hosmer, based on themes of mystical folklore and playful literature. Hosmer created several conceptions in marble examining the idea of 'the fairy', with her depiction of Shakespeare's 'Puck' from A Midsummer Night's Dream perhaps being the most well-known of these which was conceived and first executed in 1855. The figure was to become so popular that it was replicated over thirty times. Copies were commissioned by a number of Royal patrons including Albert Edward, Prince of Wales (later King Edward VII) who visited Hosmer's studio in Rome and ordered a Puck for his rooms at Oxford.The sculptures were purposely designed on a small scale specifically for multiple replications in order appeal to upper-middle class patrons to grace their drawing rooms and parlours. The whimsical treatment of the subject matter however as married with high quality of workmanship which was intended to appeal to the most demanding of British and American clientsBy the time, Hosmer conceived the first of her three variations of her pendant figure to 'Puck', the figure of 'Will o' the Wisp'(from 1856, 1858 and 1864) she was on her way to becoming one of the most renowned and admired professional sculptors of her day, not only in American but also in Europe. Born in Watertown, Massachusetts, Hosmer's mother and three siblings died during her childhood. Despite being a delicate child she was encouraged and mentored by her physician father, Hiram Hosmer, to pursue a life outside the constraints of female society. As a result, and most unusually, she had a full academic education, physical training and was widely travelled. Hosmer's father encouraged her artistic vision and supported her wish to go to Rome to become the pupil of the sculptor John Gibson. When in Rome, Hosmer became friends with the ex-pat colony of European artists and writers that included Bertel Thorvaldsen, William Makepeace Thackeray Georges Eliot and George Sand. In Florence she was the frequent guest of Elizabeth Barrett and Robert Browning. She also importantly nurtured the talents of a group of American female artists which included Edmonia Lewis, Anne Whitney, Emma Stebbins and Vinnie Ream. It was this circle which the writer Henry James later called 'a sisterhood of American lady sculptors'.LiteratureSherwood, Dolly, Harriet Hosmer: American Sculptor, 1830-1908, Pub. Columbia, Missouri, 1991.Kasson, Prof. Joy, Marble Queens and Captives: Women in Nineteenth-Century American Sculpture, Pub. Yale University Press, 1990.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Hiram Powers (American, 1805-1872): A very rare and early carved white marble ideal portrait bust of Ginevra, (first version)The serene maiden clad in classical drapery to her shoulders, her loosely dressed coiffure with trailing chignon adorned with a pearl diadem, the rear signed H POWERS Sculpt, raised on a swept circular socle, supported on rouge marble plinth, 70.3cm high overallFootnotes:ProvenancePrivate UK family collection, Clevedon, Somerset, England. Acquired sometime in the late 1960s and by repute purchased at a Bristol (England) house sale, thence by descent. Arguably the greatest and most influential American Neoclassical sculptor of the nineteenth century, Hiram Powers achieved international recognition for his near life-size marble figure of The Greek Slave, which at the time became one of the most famous Orientalist works of art in the world. The figure was subsequently taken on a tour of America in the late 1840's, as well as holding pride of place in the United States contribution to the Great Exhibition of 1851 in London.With humble beginnings in the state of Vermont, Powers moved with his family to Cincinnati in Ohio when he began to assist the Russian émigré sculptor Frederick Eckstein, training in the rudiments of sculpture. Whilst a pupil at Eckstein's Academy in the late 1820s, he began to produce portrait busts whilst also taking up commissions on the East coast of the country. By 1837 he had secured funding from a Colonel John S. Preston allowing him to relocate to Florence, Italy. Although originally intended as a temporary move, his love of the city with its rich artistic tradition, its proximity to the marble quarries of Carrara and Seravezza, and the influence and the encouragement of an Anglo-American expatriate community of sculptors led to him making Florence his permanent home. Initially trained in the skill of marble carving by a fellow Florentine expatriate sculptor, Horatio Greenough, Powers subsequently expanded his workshop, employing a variety of skilled craftsmen to assist in moulding, casting and carving. With a significant and successful high-profile business, wealthy American and European clients flocked to his studio, commissioning both portrait and 'ideal' bust subjects. In addition, Powers also went on to influence further generations of artists and sculptors living in Florence. As a Swedenborgian or 'New Churchman', Powers believed that 'the legitimate aim of art should be spiritual and not animal' and that the natural body was merely a veil over the soul and spiritual body. This belief inspired him to create 'ideal' sculpture based on subjects from history, religion, philosophy and mythology. Representing an archetypal beauty, these 'ideal' subjects were at the time highly regarded and considered to be the pinnacle of the artist and sculptors most worthwhile and creative endeavour. Powers first serious venture into 'ideal' sculpture was his bust of Ginevra dating from this earliest time in Florence in 1837-8. It was inspired by the poem 'Italy' by the English poet Samuel Rogers (1763-1855), which told the story of a young bride who vanishes on her wedding night and is then found dead in a chest more than fifty years later still wearing her wedding ring bearing her name. The bust, finely carved in a high Neoclassical style, depicts the doomed bride as a goddess clad in drapery with a pearl adorned diadem. It was later paired with a pendant work by Powers depicting perhaps his most famous 'ideal' female bust, that of Proserpine, the Roman goddess which was begun in 1839 but not completed until 1843. Proving to be immensely popular, Powers produced Proserpine in different versions, some with more simplified bases and in reduced edition sizes up until 1873. However, although Ginevra was a more short-lived and hence rarer composition, a second perhaps less severe version which was modelled some twenty years later by the sculptor whilst visiting his daughter in England which was possibly more suited to the tastes of the time and appears to have been more widely reproduced with a number of replica copies apparently ordered by English clients.Of the very limited number of known commissioned marble replica's of the first edition of the bust (the original plaster being presumed destroyed), these are listed in Richard P. Wunder's, Hiram Powers, Vermont Sculptor, 1805-1873, volume II, Catalogue of Works but include no documented English commissions. Only two are apparently of a comparable but slightly larger size including their circular socles, measuring 30 inches (76cm) high. One, which is signed 'HIRAM POWERS Sculpt' includes a dedication to 'N Longworth Esq' and is now in the Cincinnati Art Museum (acc. No. 1893.63) whilst the other, also signed 'HIRAM POWERS Sculpt' is now in the Clermont Museum, Clermont State Park, New York State (acc. No. X154a). Of the other listed replicas, all are apparently smaller in size at 24 inches (61cms) high, although it seems likely that the heights of these busts are recorded without the addition of socle bases. Of this group, four are listed as 'not located', whilst the final one, an unfinished bust found in Powers studio at the time of his death is now in the collection of Washington, DC NMAA SI (acc. No. 1968.155.23). Of the busts which are 'not located', these are as follows:1.) Ordered by George Tiffany, Baltimore, Md. 2.) Ordered by Stephen Clarendon Philips, Salem. Mass. 3.) Ordered by Dr Alban Goldsmith, New York. 4.) No details given.Given that the offered bust is also approximately 24 in. (61cm high) without its socle, it seems possible that it could be one of these unlocated busts, the most likely candidate being the fourth example where no details of the commission are provided. However, although it could be that the bust made its way to England directly from Power's studio in Florence given that the majority of Powers early commissions came from his fellow country men, it is also possible the bust may have come to Bristol in England by way of an Anglo-American family connection given Bristol's strong shipping links to the US, perhaps via the flourishing tobacco trade in the 19th century. Related LiteratureR. P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873, Newark, Delaware, 1990, p. 153-157.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Emile Louis Picault (French, 1833-1915): A pair of patinated and parcel gilt and rouge and black marble figures of an Egyptian Priest and an Egyptian scribeBoth clad in typical jewelled drapery with formal headdresses, the former holding an offering of a ceremonial bull, his other hand raised, the latter holding an urn with Amen Ra eagle finial, his raised hand holding a stylus, their sandaled feet raised on square bases, signed Picault, on conforming stepped square plinth bases, 52cm high approximately (2)Footnotes:Emile Picault exhibited a wide range of sculpture at the Salon between 1863 and 1909. His Egyptian subjects are some of his most popular and follow in the tradition of ethnographical decorative sculpture which proved extremely popular in France in the late 19th century.As well as being influenced by the archaeological findings of the period the present lot demonstrates a fascination with the costume and theatre of the ancient world. Three comparable pieces to the present work were sold at Christie's New York, one in the di Portanova Collection sale, 20 October 2000, lot 91, another on 2 May 2001, lot 73 and another pair on 23 April 2002, lot 39.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LUCIEN VIN, marble based metal sculpture "Textured form", 72cm height

SCULPTURE, marble based brass sculpture "Flying Geese", 50cm height

After C M Russell, 'Stagecoach', a later cast bronze sculpture, 50cm long, 19cm high, on marble base, 57cm long overall, 22.5cm high.

After Frederic Remington (American 1861-1909), 'Cowboy', a later cast bronze sculpture, signed on base, 31cm high, on marble plinth, 34cm high overall.

A GROUP OF TABLE LAMPS, PLANTERS AND OTHER DECORATIVE HOMEWARES, to include seven table lamps, including one in the form of an eagle, height to top of fixture 52.5cm, a pair of white classical style vases, assorted planters and jardinieres, a jardiniere stand (no matching jardiniere), a large ceramic horse's head sculpture, a marble tube - possibly the base of a table lamp?, etc (Qty) (Condition Report: generally appear ok, sd, untested)

A FRENCH ART DECO SCULPTURE, depicting a female figure possibly Diana and a running deer, mounted on a marble topped plinth, height 31cm x width of base 53.5cm x depth 13.5cm (1) (Condition Report: part of spear missing, Verdigris, tarnish, scratches and wear to figure and deer which are a little loose on plinth, scratches to plinth around deer, some nibbles to marble, otherwise ok)

This bronze sculpture represents a blacksmith hammering a sheet of metal. He is sculpted as a heroic figure in the style of early 20th century Eastern Europe that idealized workers for the advancement of the country. Mounted on heavy black marble plinth. Carved signature on the base: G. Yaeger. Artist: Gotthilf JaegerIssued: c. 1930Dimensions: 4"L x 6"W x 17.25"HCountry of Origin: GermanyCondition: Age related wear.

Bronze sculpture of a blacksmith standing proudly with his tool in one hand and the other resting on his apron. His sleeves are rolled up and his shirt is wide open as he stands in front of the industrial tools. Beautiful green-brown patina. Mounted on a dark grey marble base. Inscribed on back of the base: H. Rieder. Artist: Hans RiederIssued: c. 1930Dimensions: 9"L x 7.50"W x 18"HCountry of Origin: GermanyCondition: Age related wear.

A Hellenistic marble funerary stele for a woman Circa 2nd-1st Century B.C.40cm x 30cmFootnotes:Provenance:William D. Peyton collection, U.K., acquired in the Middle East circa 1948; and thence by descent to the present owner (photographed in home in 1967).During the 2nd-1st Centuries B.C. large numbers of figurative relief stelae were produced in the Eastern Mediterranean and give a good indication of daily life and society. They depict prosperous citizens, such as the woman in the above stele, shown sitting on a throne-like seat flanked by diminutive servants, one of whom is shown holding a baby. For a discussion of the types of stelae from this region and how they indicate the rise of individual prosperity and cities, see B.S. Ridgway, Hellenistic Sculpture II, Wisconsin, 2000, pp. 189-229.For further information on this lot please visit Bonhams.com

Michel Basbous (Lebanon 1921-1981)Tête voilée (Veiled Head) bronze signed, dated and numbered '2/8', number 2 from an edition of 8, executed in 197735.5 x 8.5 x 5.5 cm Footnotes:Provenance:Property from the Artist's EstateBorn in 1921, in Rachana precisely. Michel Basbous, son of a priest of a tiny village in the north of Lebanon was amongst the first students to enroll at the newly founded 'Academie Libanaise des Beaux-Arts'(ALBA) in 1945 and one of its first graduates. Three years on, and after his first public success in the capital, he left to Paris in 1950 were he joined the atelier of Zadkine. His master there, Gaumont, asked him the purpose of his stay in Paris, and Basbous answered, deadpan, 'To learn sculpture'. Gaumont replied: 'Lebanon, the Mediterranean, Phoenicia, Assyria, Babel, Egypt... You have them all. What are you doing here? Go back to your country.' Ultimately, Basbous would obey this sage stricture. But not before having accomplished much in Paris. Upon his return in 1956, and after a short stay in Beirut, he took the surprising decision to move back to his native village Rachana. Back then, Rachana was not even accessible by asphalted roads. ' It was a new experience for me. As I did not have a workshop in the village, I placed my works on the side of the road and started working in the open air.'Michel spared no efforts to nurture a public interested in the arts, so he created the festival of Rachana in 1960, mixing theatre, music, poetry with sculpture and painting, in the hope of motivating people to interact with different kinds of cultural activities. He invited famous figures like César, Jack Lang, Karlheinz Stockhausen, Hasan Fathi and Adonis just to name a few. He fought fiercely to disseminate sculptures in public spaces, government buildings, municipal gardens... He spared no efforts to export his art to the world, multiplying trips to the USA, Japan, France and elsewhere. He experimented in different genres, styles, sizes, media from the classical marble, stone, wood, bronze, alloys to the more experimental fibre glass, resin, cement. He also believed that the world will discover him one day as a gifted painter as he was known as a talented sculptor. He was a charismatic man, larger than life. Michel Basbous, pioneer of modern sculpture, especially monumental in his country and the Arab world. His artworks are found at Oxford Museum in London, British Museum London, UENO Museum in Japan, the Modern Art Museum in France as well as in many other public places in Lebanon and abroad.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

A LARGE VICTORIAN WHITE MARBLE PLAQUEBY HENRY ALFRED PEGRAM (1862-1937)relief carved with two scantily clad figures within billowing clouds and drapery, signed "Henry Pegram Sct", together with an iron mount (2)102 x 70.7cm Catalogue NoteHenry Alfred Pegram (1862-1937) Henry Alfred Pegram RA was an English sculptor and an exponent of the New Sculpture movement, which sought to disrupt the traditional academic style of the Victorian era by placing a greater emphasis on naturalistic forms and spiritualist themes. Pegram attended the Royal Academy Schools from 1881 and, upon graduation in 1887, worked as studio assistant for Hamo Thornycroft until 1891. At this time, he was influenced by the Symbolist aesthetic of Alfred Gilbert, as well as the ideals of the Arts and Crafts movement, becoming a member of the Art Workers’ Guild in 1890. Pegram was later elected Associate of the Royal Academy in 1904 and a Royal Academician in 1922 with his diploma work Olive, The Artist’s Daughter (RA Collection, accession number 03/1808). Pegram exhibited his work at the Royal Academy throughout his career, most notably in 1889 one of his best-known works, Ignis Fatuus (Tate, accession number N01756). This relief shares many stylistic similarities with the panel offered here. The dynamic composition, emphasised by the background of finely worked clouds, relates the two works, as well as the classically inspired subject, particularly the delicately rendered female form, displaying Pegram’s celebrated finesse of execution.

A patinated bronze sculpture depicting a Viking warrior on horseback, mounted on black marble base, W20cm, overall height 28cmGood overall condition, base does have several small chips around the edge

A patinated bronze sculpture of Dionysus, on black marble plinth base, overall height 57cmGood overall condition, no obvious damage or repairs, some light wear, a couple of minor surface chips to the base only

Henri Calot (1857-1935) 'Danseur au Serpent' Art Deco sculpture of female holding snake, circa 1925 Bronze, marble base Signed 'H Calot' 58cm high including base (base alone 12.5cm high) 

Bronze sculpture of an owl, after the example of M. de Coste, on a marble base, in Art Deco style, 38 cm high

Bronze sculpture of a bird of prey, after the example of Ernst Barlach, on a marble base, in Art Deco style, 34 cm high

Marble bookend with bronze sculpture of a rooster crowing, 26 cm high, 21 cm deep

Bronze sculpture of a bear, after the example of Francois Pompon, on a marble base, 27 cm high

Marble sculpture of a cockatoo, 30.5 cm high

Signed J Gorrila, bronze sculpture of a dancing person, 22 cm high, standing on a loose marble base, 33 cm high in total

Bronze sculpture of a posing nude, on a marble base, copy after the design of Emmanuel Frémiet, 30 cm high