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

With signature August Moreau, bronze sculpture of a boy and girl sitting on a rock on a marble base, 22 cm high

Marinus Klap (1944-)Bronze sculpture of a figure, on a marble base, 42.5 cm high

After Pierre-Jules Mene (1810-1879), a bronze sculpture of a sow pig and piglets on black oval marble base. Naturalistically cast with the sow standing before her six piglets, the grassy base signed MENE, on moulded oval black marble base, 45cm wide

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)TRANSCENDENTAL FLIGHT, 1963 Wood on marble base 83cm (32½in.) Height inc. base Provenance:Direct from the artist's familyRobert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.

R Van Ruyckevelt for St Denis - Bone china and gilt bronze sculpture of blackberries, brambles and blossom on a marble plinth No.A109 with inset porcelain plaque L34cmCondition Report:One blackberry detached but present

Capodimonte 'Tiche' Tosca Signed - Large and Impressive Porcelain Figure/Sculpture of Napoleon on Horseback. Painted on Coloured Enamels. Raised on a Gilt Bronze Ornate Plinth Base, Which in Turn Rests on a Marble Base. Superior Quality Piece In Excellent Condition. 17.5" (44cm) High 11.5" (29cm) Wide.

Bronze Figure of a Horse and Arab Rider, after Anton Louis Barye, French sculpture of an Arabian Horse rider. Height 14", raised on a marble plinth 14" x 11".

A patinated bronze sculpture, study of Cupid on green marble base, H31cmGood condition, no damage or repairs, light wear only

After Jean Patoue, patinated bronze sculpture, figure holding a vase, on turned marble base, H35cmGood condition

A quantity of military badges and patches, a military issue baby's respirator and associated carry bag, and a brass sculpture of a dog on a marble plinth

§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) FEG Signed and inscribed A/P, bronze sculpture on marble baseDimensions:31.5cm (12.5in) high, not including the base

§ JOHN BYRNE R.S.A. (SCOTTISH 1940-) SATYR Signed and inscribed A/P, bronze sculpture on marble baseDimensions:23cm (9in) high, not including the base

A cast reconstituted marble stone sculpture of a putti and a goose, on a cast stone plinth base, 165cm x 160cm (altogether), 76cm wide x 47cm deep x 67cm high (plinth base) and 91cm x 63cm (putti)Aged, weathered condition. One wing to the goose restored.

Bronze highland stag sculpture on marble base signed Bugatti

Bronze flying lady sculpture on marble base signed Charles Sykes

Nicholas Tandi (African, b.1948) Portrait marble bust of an African woman, a large contemporary green hard stone sculpture, signed, 82cm high Provenance: Property from a Hampstead apartment Artist Resale Right may apply

A SPECIMEN MARBLE INLAID OCTAGONAL PANEL OR TABLE TOP 19TH CENTURY, POSSIBLY ASHFORD, DERBYSHIRE Inlaid to centre with floral sprays with blue ribbon tie, within snaking specimen hardstone banding 52cm wide, 2cm deep The delicacy of the floral spray inlay to the centre is comparable to work executed by craftsmen such as Samuel Birley (see the 1862 Great Exhibition table- now held in the Victorian and Albert museum 157&A-1864). The snaking kaleidoscope of specimen hardstones and marbles is often found in Derbyshire work from the 1850-1860 period- cf the octagonal table in the Sculpture Gallery at Chatsworth and a table sold as part of the Anthony Outred Collection, Sotheby's London, 30th September 2020, lot 39 £5,000.Please note, the cataloguing for this lot has been updated and differs from that shown in the printed catalogue. Please see our website for the full catalogue description.   

Seamus MORAN Form 2006 Resin sculpture, initialled and dated '06, 26.5cm including black marble baseThis piece is in good condition overall, there is however two small chips to the bottom of the base (please see additional image).

Seamus MORAN Cause & Effect Resin sculpture, 19cm including black marble baseOverall this piece is in good condition.

Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mitfigürlicher Gestaltung von Claude Galle (1759 - 1815)56 x 48,5 x 17,2 cm.Paris, um 1810.Funktionen:Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Geschwärzte Breguet-Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke.Gehäuse:Bronze, vergoldet und braun patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Braun und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: zwei Panther, die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Zifferblatt:Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet „Le Roy“.Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam.Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv.Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts.Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris (Salle M. Etienne Ader, Lot 121), vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815).Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert 1 sowie Rue Vivienne 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Tuileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Château Malmaison befindet.Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden.Nicht auf Funktionsfähigkeit geprüft.Literatur:Vgl. Michael Edward Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Bd. 6/7, 1978/1979, S. 57-74.Vgl. Louna Zek, Bronzes d‘ameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l'Histoire de l'Art Français, 1994.Vgl. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l‘Empire, in: L'Estampille - L'Objet 'art, Januar 2005, Nr. 298, S. 62-85. (1350596) (1) (10)Important empire style mantel clock of the highest quality with figural décor by Claude Galle (1759 – 1815)56 x 48.5 x 17.2 cm.Paris, ca. 1810.Functions:The clockwork with round brass plates, connected by four pillars. Lever work with pendulum on silk suspension. Fourteen-day striker. Blackened Breguet hands for hours and minutes. Count wheel striking mechanism for half-hour and hour strike on silver-plated bell.Case: Bronze; gilt and with brown patina; green marble. The design primarily emphasizes the sculptural, an artistically outstanding achievement as a classicist sculpture, while the clockwork is subordinate in the overall appearance. The emphasis on the two-colour effects of brown and gold give an appearance of dignified elegance. The design of the green-coloured stepped base in Vert-de-mer marble seems restrained but is connected to the figurative work by means of round gilt feet. The figurative design features a bacchanalian maenad reclining on a cushion on a black patinated recamier, richly decorated with gilt applications. She is only dressed in a cloth draped around her waist. She is stretching out with her raised arms holding a large bunch of grapes with leaves above her face. Her gaze is hooded, appearing almost intoxicated. A tambourine with a thyrsus between two wine jugs is positioned at the foot of the recamier by her feet. In accordance with this ancient subject, the applications on the front of the recamier also refer to the Bacchus theme: two panthers are feasting on grapes in a basket. They are the attribute animals of the wine god Bacchus, who, according to legend, was raised by a panther. Panpipes are shown on the sides, below the masks of the horned Pan appear on the goat feet of the recamier. The backrest is decorated with a rearing goat and a ram's head rhyton. The clockwork is inserted at the centre below the recamier.Dial:The white enamel dial shows Roman hours and Arabic quarter hours, “Le Roy” inscribed above number VI.The subject of the figurative design can be traced back to rich ancient legends that were handed down by the Roman poet Ovid. The prehistoric invention of wine production plays a major role here, such as the legends of Bacchus and Erigone, the daughter of Icarius. It recounts that Bacchus betrayed the secrets of wine production without mentioning the consequences of drunkenness, whereupon Icarius was killed. But even without this background, the motif of the drunken maenad in the entourage of Bacchus often gave inspiration to artistic expression. And this was also the case for figurative work in combination with clock cases. Clodion also designed a nymph of Bacchus on a couch in marble for a musical clock that came into the collection of Prince Napoleon in Brussels. A similar ma...

A PAIR OF FRENCH ORMOLU, BRONZE AND ROUGE GRIOTTE MARBLE SEVEN LIGHT CANDELABRA 19TH CENTURY Each surmounted by baluster-shaped vase issuing trumpet-shaped scrolling branches cast with foliate masks, above a stepped moulding and rectangular base mounted with ribbon-tied oak leaf wreath, drilled for electricity,later plinths127.5cm high, the bases 19.5cm wide, 188cm high overall Provenance: Christie's, London, Furniture, Sculpture and Carpets, 11th September 2008, Lot 193 (£11,250).Property of the Trustees of Lord Gretton

Edward Hodges Bailey (British, 1788-1867)Nelson receiving the Spanish surrender after the Battle of St Vincent circa 1826 A white marble relief frieze panel in two sections 146cm high x 376cm overall length the larger section 46cm at maximum depth, the smaller 35cm Edward Hodges Baily RA FRS was a prolific English sculptor responsible for numerous public monuments, portrait busts, statues and exhibition pieces as well as works in silver. He carved friezes for both the Marble Arch and Buckingham Palace in London. His numerous statues of public figures include that of Horatio Nelson on top of Nelson's Column and Charles Grey, 2nd Earl Grey on Grey's Monument in Newcastle upon Tyne. Throughout his career Baily was responsible for creating a number of monuments and memorials for British churches and cathedrals, including several in St Paul's Cathedral.The scene depicts the Spanish Admiral Don Francisco Xavier Winthuysen, who lies dying on a gun carriage of the deck of the San Josef. He weakly hands his sword to Nelson while supported by Ovo sailors, watched by other sailors and British officers.The Battle of Saint Vincent took place on 14 February 1797 and established Nelson as a hero, both for his independence of command and his personal bravery. It was also a turning point for the British Navy who had previously been driven out of the Mediterranean following French successes in Italy.The English fleet under Admiral Sir John Jervis, with only fifteen ships, drove a line through the larger and superior Spanish navy which was lying off Cape St.Vincent, Portugal. Before Jervis could turn to attack the larger group, Nelson broke line in the Captain, anticipating his commander's signal, and accompanied by other British frigates, took four Spanish 'prizes' from the rear, himself personally boarding the San Nicolas and San Josef. The British victory demonstrated the ineptitude of the Spanish navy, and Nelson was made a Knight of the Bath for his exploits, while Jervis was created Earl St Vincent.A similar scene was recorded in a more dramatic and romantic manner in a painting of 1806 by Richard Westall but on the San Nicolas (National Maritime Museum, Greenwich). Interestingly, in the Nash/Flaxman model in the Victoria and Albert Museum (south side, not shown) Flaxman's composition is the other way round with Nelson standing on the left to receive the sword with his right hand. It must be assumed that because his right arm was amputated later in 1797 (at the battle of Santa Cruz de Tenerife) Baily reversed the action, to disguise the missing limb. Thus the hero receives the sword with his left hand which disjoints the action of the full scheme of the frieze. (Westall had to find a similar solution in his painting).Baily's composition makes interesting comparison with Westmacott's melée in the Napoleon frieze. Here we have classical purity, the figures starkly arranged in a Grecian style frieze and in noble profile. Then to focus attention on the action of surrender, Baily breaks up the powerful verticals of sailors and officers by tilting up the gun carriage, on which the dying Spanish commander lies, and using the device of a coil of rope to support one kneeling sailor. The action is thus cleverly foreshortened and succeeds in instilling a certain pathos into the scene of a row of almost emotionless faces. This is accentuated by the austerity of composition and refreshing use of empty space in the background.This historic frieze in two sections is already professionally packed in two bespoke wooden crates ready for shipping. Provenance: Private collection, The Manor of Littleton, Shepperton, MiddlesexSothebys 12th May 1995, Lot 181Removed from an office redevelopment in Central London in 2022   Sculpture

A carved white marble bust of the Venus d'ArlesItalian second half 19th century 70cm high on white and veined marble column pedestal 185cm high overallThe original statue of the Venus of Arles is  in the Musée du Louvre. It is in Hymettus marble and dates to the end of the 1st century BC.It may be a copy of the Aphrodite of Thespiae by Praxiteles, ordered by the courtesan Phryne. Garden ornamentGarden statue Sculpture 

Aristide FontanaA carved white marble group of Hebe and Zeus in the form of an eagle circa 1880 signed Aristide Fontana Sc Carrara 102cm highGarden ornamentGarden statue Mythological sculpture 

Joseph Edgar Boehm: A carved marble bust of Lieut Col Hon Augustus Frederick Ellissigned AVC Fred.Ellis Etat24 J.E.Boehm 1876 After Chantry 1824 64cm highLieutenant-Colonel Hon. Augustus Frederick Ellis 17 September 1800 – 16 August 1841 was a British Army officer and Tory politician.Ellis was the son of Charles Ellis, 1st Baron Seaford and Elizabeth Catherine Caroline Hervey.He was educated at Eton College between 1811 and 1814  and commissioned into the 9th Regiment of Light Dragoons in 1817. On 4 October 1821 Ellis purchased a captaincy in the 76th Regiment of Foot.He stood for the Seaford constituency, a seat controlled by his father, in the 1826 general election. He was returned as the Member of Parliament alongside fellow Tory John Fitzgerald. Ellis vacated the seat to allow George Canning to hold the seat for four months in 1827, before resuming it. He rarely attended the House of Commons and focused on his military career, being promoted to lieutenant-colonel in the 60th Royal Rifles in December 1828. Ellis voted for Catholic emancipation in March 1829.Sir Joseph Edgar Boehm, 1st Baronet, RA 1834 –1890 was an Austrian-born British medallist and sculptor, best known for the "Jubilee head" of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. During his career Boehm maintained a large studio in London and produced a significant volume of public works and private commissions. A speciality of Boehm's was the portrait bust, as in this example; there are many examples of these in the National Portrait Gallery. He was often commissioned by the Royal Family and members of the aristocracy to make sculptures for their parks and gardens. His works were many, and he exhibited 123 of them at the Royal Academy from 1862 to his death in 1890.It is likely that Boehm would have made a copy of Sir Francis Leggatt Chantrey’s original executed in 1824 at a cost of £105.00, probably for another family member. Garden ornamentGarden statue Sculpture

A carved marble sculpture of quatrefoil form with pierced & polished centre, mounted on slate base inscribed “Twombley” (?), 10½” high; a carved soapstone sculpture of a clenched hand, & another of a female figure, each mounted on rectangular base; 12” & 6” high.

A bronzed metal sculpture of a horse, shaped stepped marble base, 22.5cm high

A bronzed metal sculpture of a gorilla, rectangular stepped marble base, 18cm high

A contemporary chrome sculpture,in the manner of Arnaldo Pomodoro, of an abstract pyramid, revealing metal screws, unsigned, on a square marble base,40cm wide30cm deep29cm highCondition ReportSome chips to the corners of the base. Surface scratches to the chrome.

After Julie Moigniez (American, 20th century), a cast patinated bronze sculpture of a Rhinoceros, signed, on polished marble base, 24cm wide.

A large marble mosaic sculpture of an Oryx, with blackened steel horns, height 89cmGood condition, some abrasion marks to the horns.

A 19th century pale terracotta Grand Tour sculpture, The Dying Gaul (The Dying Galatian), by Sommer, Napoli, 30cm wide, c.1895, impressed marksThe Dying Gaul is an ancient Roman marble statue in the Capitoline Museums in Rome. This Roman example is a copy of a now lost sculpture from the Hellenistic period (323-31BC), thought to have been made in bronze.

An early 20th century patinated bronze Classical Zeus sculpture, unsigned, on green veined marble base, height 20cmSome evidence of glue around base, otherwise no damage or repair

An Antique Classical bronze sculpture, on marble base with cherub relief panel, overall height 54cmJoins evident at arms leg and neck covered by verdigris patination, item missing from right hand, plinth is offset and relief panel is not central

An Antique bronze cherub sculpture playing pipes, on marble base with lamp fitting, bronze height 37cmLight fitting needs replacing, bronze in good condition

A 20th century bronze sculpture "The Bronco Buster" by Frederic Remington, signed to base, on marble plinth and attached to wooden presentation plinth, height 30cmGood condition, Foundry's Authorised Edition stamped on base of statue, no number given to Foundry stamp

A patinated bronze figural Spaniel dog sculpture, on simulated marble base, base length 12cmNo damage or restoration

An Art Deco gilt-bronze Alsatian dog sculpture, on veined green marble base, base length 15cmLow points show signs of re-gilding, otherwise no damage or restoration

David Wynne O.B.E. (British, 1926-2014)Portrait Bust of Lady Oppenheimer signed and dated 'DAVID WYNNE/1952' (to neck verso)bronze with a brown patina on a marble base32cm (12 5/8in) high (excluding base); 48.5cm (19 1/8in) high (including base)Footnotes:ProvenanceSir Michael (3rd Baronet, 1924-2020) and Lady Oppenheimer DD, and thence by descentPrivate Collection, JerseyLiteratureD. Wynne, The Sculpture of David Wynne 1949-1967, Michael Joseph, London, 1968, p. 152This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A marble sculpture of Venus Arising, Venus and a cherub modelled resting in a large shell, on oval alabaster base unsigned 21cm wide

Paul Philippe (1870-1930)'Danseur Russe' (Russian Dancer) Art Deco sculpture, circa 1925Bronze, enamel highlights, marble baseSigned 'P PHILIPPE' in the cast59.5cm high (including base)

BERTIL VALLIEN FOR KOSTA BODA, "Cube in The Box", a solid oblong glass sculpture, the fascia with raised abstract frosted and polished panels enclosing a male head wearing a top hat, signed, engraved 7175023 KOSTA BODA LIM. ED. 100, original label, 5 1/4" high, 4" wide, together with a polished square marble base (Illustrated) (Est. plus 21% premium inc. VAT)Good, no damage

B. G. ROGERS ABSTRACT BRONZE SCULPTURE, initialled on white marble stand, 55cm L.

Coming Through the Rye' Frederic Remington Bronze Sculpture on a Marble Base - dimensions 23x15.5x22.5cm

DAVID WHIPP (of Brighton, 20th century), a wrought metal and coppered sculpture of a tapering ladder and bicycle leaning against a 19th century style lamp post, upon a polished and natural marble-style base (21cm high)

Scultura in bronzo su base in marmo del Belgio. 1992. Cm h 25Bronze sculpture on Belgian marble base. 1992. H 25 cm

Scultura in bronzo con base in marmo rosso venato. Cm 28 x 26Bronze sculpture with veined red marble base. 28 x 26 cm

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTIONBronze Signed and dated 68 Height 31cm (12in.)Provenance:Direct from the artist's family Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.Condition Report: Light surface dirt throughout. Some minor nicks, marks and scratches to the surface most notable to the back of the head. Otherwise appears to be in good original condition. Condition Report Disclaimer

A bronze sculpture of a cameleer, cast from a model by Antoine-Louis Barye, 20th c, even rich brown patina, on marble base, 22cm h A private collection of Franz Bergman Orientalist and other bronzes (lots 371-395, 423-424, 490 and 497) Good condition

A bronzed resin sculpture of children playing leap frog, early 21st c, cast from a model by Crosa, on marble base, 31cm h A private collection of Franz Bergman Orientalist and other bronzes (lots 371-395, 423-424, 490 and 497) Good condition

A cold painted Vienna bronze orientalist sculpture of an Arab on a camel, Bergman Foundry, 20th c, mounted on marmo nero portoro ashtray, 15.5cm h, stamped B in bottle and Nam[greb], underside of marble incised AUSTRIA A private collection of Franz Bergman Orientalist and other bronzes (lots 371-395, 423-424, 490 and 497) Good condition save for the wire rein partly detached and slight wear to decoration on to of the figures headdress

Benjamin Edward Spence (1822-1866),'The Highland Mary', a carved white marble figure, on an oval plinth,44cm wide31cm deep124cm highFor a similar example, see The Royal Collection Trust inventory number 2075.During the 1840s, Spence was sent to study in Rome under the atelier of Richard James Wyatt and John Gibson. As such, his work is defined a typically neoclassical depiction of contemporary figures. 'The Highland Mary' portrays Mary Morison - a famous nineteenth-century figure known for holding the affection of Scottish poet, Robert Burns. The sculpture illustrates Burns and Morison's final encounter, in which Burns swears eternal faithfulness, as evoked in his namesake poem:That heart that lo'ed me dearly!But still within my bosom's coreShall live my Highland MaryThe sculpture was first commissioned in 1852 for notable businessman and potter, Charles Meigh, at his new residence of Grove House, in Shelton, Staffordshire. Spence went on to make several versions of 'The Highland Mary', including an example commissioned for Prince Albert as a birthday present to Queen Victoria, which now resides in the Guard Chamber at Buckingham Palace. Condition ReportFor a similar example, see RCIN 2075 in the Royal Collection Trust.

A bronze figure of a sleeping nude, signed indistinctly ‘Carreaux’, raised on a stepped shaped marble base, approximately 9cms high; together with a reproduction classical Greek bust, signed G. Lioulias; brass mounted Lourdes wall plaque with font; Crystal crucifix sculpture; and a wall mask.

A contemporary metal sculpture of a cockerel, modelled standing, raised on a naturalistic marble base, 30cms high.

A bronze sculpture of a blacksmith, on a marble base. Circa 1900.H.: 29 cm.

After Hunt, 20th Century bronze sculpture on marble base of the Venus De Milo

Antique desk top magnifying glass, Bronzed effect spelter lion sculpture and small clock within a marble case.

A LIMESTONE TORSO OF A BODHISATTVA, TANG DYNASTYChina, early 8th century. The slender, elegant figure well carved standing in a subtle tribhanga pose, wearing a clinging diaphanous skirt falling in graceful folds, with scarves tied diagonally around the torso and draped from the shoulders, richly adorned with elaborate jewelry including beaded and foliate necklaces as well as pendent ornaments of beaded and floral designs. The gray limestone with a magnificent, naturally grown, smooth patina.Provenance: French trade, acquired from a French private collection built between ca. 1980 and 2012. Condition: Good condition, commensurate with age. Extensive wear, losses, small nicks, light scratches, a minor surface crack with associated old fill (only visible under strong blue light), signs of weathering and erosion, encrustations.Weight: 29 kg (incl. stand) Dimensions: Height 60 cm (excl. stand) and 64 cm (incl. stand)Mounted on an associated stand. (2)The 5th-century Gupta influence on Tang Buddhist sculpture is manifest in the sensuously rounded body of the present lot, together with the diaphanous robes and jewelry.Literature comparison: This statue is related to some of the larger figures from Longmen, such as the standing bodhisattva in a similar pose, with U-shaped drapery folds and roll of material at the waist, illustrated in Longmen Liusan Diaoxiang Ji (The Lost Statues of the Longmen Caves), Shanghai, 1993, p. 71, no. 78. Compare with a similar stone figure of a bodhisattva illustrated by O. Siren, Kinas Kunst Under Tre Artusenden, vol. 2, Stockholm, 1943, fig. 73A. Compare also a related sandstone figure from Tianlongshan, Shanxi Province, 101.6 cm high, dated approx. 700-750, in the Asian Art Museum of San Francisco, object number B60S6+. For a related figure in white marble with more elaborate realization of the drapery and with one foot placed slightly forward, see the figure from Longyenshan, Hebei, illustrated by W. Willetts, Foundations of Chinese Art, London, 1965, p. 222, fig. 139.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 162 Price: USD 134,500 or approx. EUR 218,000 converted and adjusted for inflation at the time of writing Description: A rare well-carved gray stone torso of a bodhisattva, Tang dynasty, early 8th centuryExpert remark: Compare the closely related pose, drapery, and folds. Note the similar size (63.5 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 1999, lot 161 Price: USD 36,800 or approx. EUR 59,500 converted and adjusted for inflation at the time of writing Description: A rare dark gray stone torso of a bodhisattva, Tang dynasty, circa 700, from the Longmen cavesExpert remark: Compare the closely related pose and color of the stone. Note the similar size (54.6 cm).唐代石灰石立姿菩薩殘軀中國，八世紀初。優雅身姿，三曲式，外衣輕薄而貼身，飾有精美的珠寶，如串珠和葉狀項鍊以及花卉紋的吊飾。順著身體結構起伏，雙腿輪廓隱約可見，褶皺線條流暢。灰色石灰石，自然包漿光滑。 來源：法國古玩交易，來自一個建立於1980-2012年之間的法國私人收藏。 品相：品相良好，大面積磨損、缺損、小劃痕、輕微的表面裂紋和相關的填充物（僅在強藍光下可見）、風化和侵蝕、結殼。 重量：29 公斤 (含底座) 尺寸：高 60 厘米 (不含底座) ，64 厘米 (含底座) 配置支架。(2) 五世紀古普塔對唐朝佛教雕塑的影響體現在本拍品圓潤的身體，以及透明的長袍和珠寶上。 文獻比較： This statue is 一件相近的龍門石窟立姿菩薩像，有相似的姿勢，長袍衣服U 形褶皺和腰帶，見《龍門流散雕像集》，上海，1993年，頁71，編號78。比較一件相似的菩薩石像，見《O. Siren，Kinas Kunst Under Tre Artusenden》，卷2，斯德哥爾摩，1943年，圖73A。比較一件相近的約700-750年山西天龍山砂岩石像，101.6 厘米高，收藏於舊金山亞洲藝術博物館，館藏編號B60S6+。一件相近的河北白大理石像 ，見W. Willetts，《Foundations of Chinese Art》，倫敦，1965年，頁222，圖139。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，1999年3月22日，lot 162 價格：USD 134,500（相當於今日EUR 218,000） 描述：八世紀初期唐代灰岩菩薩殘軀 專家評論：比較非常相近的姿勢、布料和衣摺。請注意相似的尺寸(63.5 厘米)。

A WHITE MARBLE HEAD OF A BODHISATTVA, NORTHERN QI DYNASTYOpinion: Northern Qi sculptures of this size are exceedingly rare, as the art from this period was fashioned during a short twenty-five-year span and relatively confined to the northern provinces of Shandong, Hebei, Henan, Shanxi, and Anhui.China, 550-577. Exquisitely carved, the face with a serene expression, an entrancing gaze from deep-set eyes above an aquiline nose and pursed lips, with hair combed into a chignon held together by a crown having both sides tied with ribbons trailing from floral medallions.Provenance: Christie's Amsterdam, 30 October 2000, lot 83, sold for NLG 17,553 or approx. EUR 13,500 (converted and adjusted for inflation at the time of writing). Roger Hollander, acquired from the above. Roger Hollander (1934-2018) was a graduate of Yale and a true American businessman, having turned a small family operation into a globally recognized industry. He was known for his expertise in Indian and Chinese textiles, and for his sprawling country estate on the edge of Yellowstone National Park that housed a vast wine cellar, research library, and many thousands of ethnographic artifacts. The estate, known as Irma Lake Lodge, once belonged to 'Buffalo' Bill Cody and was eventually sold by Hollander to Bill Gates for USD 9,000,000.Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, minor old repairs and fills, signs of weathering and erosion, and encrustations.Weight: 11.8 kg (incl. stand)Dimensions: Height 28 cm (excl. stand) and 38 cm (incl. stand)The Northern Qi dynasty was one of the most vibrant periods in the history of Chinese art, both religious and secular, as its openness towards foreigners, their ideas, beliefs, and goods immensely enriched the local cultural climate. It was within this cosmopolitan climate that Buddhist sculpture experienced perhaps its most glorious moment. The present head aligns with a simplified style of white marble carvings from this period found in Quyang of Hebei province. The complete figure would have been an exceptionally large standing polychromed bodhisattva, a type depicted with the left arm bent at the side while holding an attribute, wearing simplified jewelry and robes, and standing above a double-lotus petal base on a plinth.Expert's note: According to Osvald Siren, marble figures modeled in gently rounded forms, such as the present example, were typically produced during the second half of the 6th century. See Osvald Siren, Chinese Marble Sculptures of the Transition Period, Bulletin of the Museum of Far Eastern Antiquities, no. 12, Stockholm, 1940, pp. 473-496. Also compare a closely related, very rare and important painted white marble Buddhist votive stele, Northern Qi dynasty, at Christie's New York, 17 March 2009, lot 357. Christie's notes the “massive size” of this important stele at 170 cm, but one must consider that the scale of our head suggests it is from a figure over twice as large. This comparison gives an invaluable picture of a complete bodhisattva from the Northern Qi period, and no doubt with numerous similarities, but leaves one wondering about the importance of the complete work that our head must have once been a part of.Literature comparison: Compare a closely related marble figure of Buddha, with near identical facial features, in the Royal Ontario Museum, object number 921.31.21, illustrated in Angela F. Howard, Buddhist Cave Sculpture of the Northern Qi Dynasty: Shaping a New Style, Formulating New Iconographies, Archives of Asian Art, vol. 49, 1996, pp. 6-25, fig. 19.  Compare a closely related head in Imprints of Buddhas, Buddhist Art in the National Palace Museum Collection, page 119, number 47.Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 September 2022, lot 265 Price: USD 94,875 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A Rare White Marble Head of a Bearded Sage, Laozi, Northern Qi-Sui Dynasty, 6th Century Expert remark: Compare the material, manner of carving and style. Note the similar size (32 cm).北齊漢白玉菩薩頭像中國，550-577年。雕刻精美，表情安詳，彎眉連著鼻頸，眼睛微閉，嘴唇微噘，頭髮梳成髮髻，由一頂王冠固定在一起，兩邊都繫著從花卉絲帶。如此規模的北齊雕塑極為罕見，因為這一時期的藝術特徵在短短的二十五年內形成，並且相對局限於山東、河北、河南、山西和安徽等北方省份。 來源：阿姆斯特丹佳士得，2000年10月30日，lot 83，售價 NLG 17,553 或相當於 EUR 13,500 (根據通貨膨脹率)；Roger Hollander購於上述拍賣。Roger Hollander (1934-2018年) 畢業於耶魯大學，是一位真正的美國商人，將一家小型家族企業發展成為全球知名的行業。他以在印度和中國紡織品方面的專業知識，以及在黃石國家公園邊緣的廣闊鄉村莊園而聞名，莊園內有一個巨大的酒窖、研究圖書館和數以千計的民族志文物。這座被稱為伊爾瑪湖旅館的莊園曾經屬於“布法羅”比爾科迪，最終被Hollander以 900 萬美元的價格賣給了比爾蓋茨。品相：狀態極好，大量磨損、缺損、刻痕、劃痕、結構裂縫、小修補和填充、風化和結殼。 重量：11.8 公斤 (含底座) 尺寸：高28 厘米 (不含底座) 與38 厘米 (含底座)

A WHITE MARBLE FIGURE OF GANESHA, HINDU SHAHI, AFGHANISTAN, 822-1026Finely carved, the coiled trunk raised toward the mouth as he has just sampled a sweet from the bowl held in his right hand, the face with almond-shaped eyes below elegantly arched and raised brows centered by an urna, the hair secured by a beaded headband.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. Yvette Starck, Luxembourg, acquired from the above and thence by descent. A Belgian private collection, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973 and addressed to Yvette Starck, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, minor old repairs and fills, encrustations.Weight: 17.3 kg (incl. stand) Dimensions: Height 39 cm (excl. stand) and 45 cm (incl. stand)Mounted on an associated stand. (2)The Hindu Shahis (822-1026) were a dynasty that held sway over the Kabul Valley, Gandhara, and western Punjab during the early medieval period in the Indian subcontinent. The dynasty was established after the overthrow of the Turk Shahis. Shaivism was practiced by the Hindu Shahis and likely was also the predominant religion. Saura was practiced by some subjects, as were Buddhism and Islam. Scholarship on the Hindu Shahis remains scarce and details regarding past rulers can only be assembled from disparate chronicles, coins, and stone inscriptions.Literature comparison: Compare a related marble figure of Ganesha, 22.6 cm high, attributed to Pakistan or Afghanistan and dated to the Shahi period, 7th-8th century, in the Art Institute of Chicago, reference number 2012.689. Compare the related manner of carving of a Hindu Shahi white marble linga, with similar eyes and brows, dated 9th century, in the Metropolitan Museum of Art, accession number 1980.415. A related white marble figure of Ganesha, 47.5 cm high, attributed to the Hindu Shahi or post-Gupta period, Punjab Hills, dated mid-9th century, was exhibited at Asian Art in London by Joost Van den Bergh in Objects of Veneration: Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet, 5-14 November 2015.