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

PAIRE DE VASES EN MARBRE JAUNE VEINE ET ORNEMENTATION DE BRONZE DORE, BECKER, FONTE SUSSE FRERESFIN XIXe SIECLEPAIR OF FRENCH ORMOLU-MOUNTED GIALLO VEINED MARBLE VASES, BY BECKER, FOUNDRY SUSSE FRERES LATE 19TH CENTURY Each with domed lids, the bodies with satyre masks and scrolling acanthus clasps above a tip-leaf border and a waisted socle with down-swept water leaves, the underside of the lids marked 'SUSSE Fres' and numbered '38', each vase signed on the ormolu edge border: 'Becker Sclp' and 'Susse Fes Edt' 37cm wide, 65cm high (14 1/2in wide, 25 1/2in high) Footnotes:An identical pair of vases, bearing the same Becker and Susse Frères signatures, but with pink veined marble were sold Christie's King Street, 19th Century Furniture, Sculpture, Works of Art and Ceramics including a Property from the Palazzo of a Milanese Noble Family, 19 March 2009, lot 87, for GBP 22.500For further information on this lot please visit Bonhams.com

*SVEN BERLIN (1911-1999) 'Warrior's Head monogrammed and dated '80 to the reverse, pentelic marble sculpture, 40cm highProvenance: The Collection of Bournemouth & Poole College.

Pair of continental Athenienne pedestals. Well carved and gilt with marble covers, these two pedestals or stands are hollow allowing for plants as well as support for vases and sculpture. In the style of French Louis XVI.Each; height: 45 in x width: 16 in x depth: 16 in.

IGNACIO GALLO ROS ( Valladolid , 1887- d.1956)."Ballerina".Art Deco sculpture, ca. 1915.Polychrome bronze and marble.Signed on the marble.Slight wear marks due to the passage of time.Measurements: 29 x 11 x 6 cm (figure); 12 x 13 x 7 cm (base).Art Decó sculpture, ca. 1915 in hand-polychromed bronze, representing a dancer executing a dance step with great ease, wearing a shawl-like dress and showing us a bare breast. On a marble base with veined pieces.Ignacio Gallo studied at the San Fernando School in Madrid, where he was a pupil, at least in 1906 and 1907, of Muñoz Degrain and Alejo Vera. In 1912 he travelled to Paris, this time accompanied by the Valladolid violinist Julián Jiménez. That same year he appeared for the first time at the Paris Salon, exhibiting his work Apóstol. He worked in Paris for a long time making Art Deco sculptures, a job in which he would achieve a certain renown. He worked between 1910-1935 in the Seine capital, specialising in the manufacture of statues of bathers, dancers, nudes and pagan goddesses. His main foundry was that of Marcel Guillemar.

After Samuel Cousins, RA, British 1801-1887- The Surprise, After Claude-Marie-Paul Dubufe; oil on canvas, 35.5 x 30.7 cm. Provenance: Private Collection, UK. Note: The present work is a copy of a mezzotint, taken by Samuel Cousins RA, after French painter Claude-Marie-Paul Dubufe (1790-1864) - see the example held at the British Museum, London [no.2010,7081.4133]. Dubufe’s larger original is held at the National Gallery, London [NG457]. The composition here directly echoes that of the print, which both display compositional differences from Dubufe’s original, notably with the background of a dark maroon and luxurious curtain a departure from the plain wall in the original. Although Dubufe was well known as a portraitist of the French aristocracy, the identity of this woman is unknown. Her state of ‘deshabille’ suggests that this picture was not intended to depict a particular person, but may instead have been based on a model. The woman's pose is based on the Medici Venus, the marble sculpture of the goddess of love made in Greece in the 1st century BC. While the sculpted Venus is nude, this woman wears a thin white blouse and brown shawl.Please refer to department for condition report

AFTER THE ANTIQUE- A BRONZE FIGURE OF ATLAS NOW FITTED AS A LAMP PROBABLY ITALIAN, EARLY 19TH CENTURY AND LATERWith later gilt metal sliding candle holder, red and yellow decorated Tôle Peinte shade figure and marble base 25.5cm high, 68.5cm high overallCondition Report: This is not (and has never been) wired for electricity, the one socket that can be seen is for a candle - there is wax and deposits where this has been used for this intended purpose. There are no fitments for bulbs.The shade and supporting arm appear to be later as per the description, the figure was probably a sculpture in its own right before the fittings were added, there is a plugged hole to the top of the neck where the globe would have sat previously.The figure is solidly and securely on the marble baseThe gilt metal with signs of wear, discolouration to gilding, the tinware shade with knocks, scratches, losses, wearPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

A plaster sculpture of the head of a deity, on marble base, 21cm h Some damage and repair

An antique style polished metal five light standard candelabrum and brass companion stand and giltmetal ring sculpture on rectangular marble base

After Tupton, a bronze sculpture, The Wrestlers, raised on marble plinth. 23cm.

A FRENCH ART DECO SCULPTURE AND PHOTOGRAPH FRAME, the sculpture of a seagull in flight modelled being supported by a wave, bronzed finish to gull, signed verso P Sega, height 32cm x width 58cm, together with an Art Deco photograph frame (missing glass) featuring two bronzed birds surmounting a marble base, height 12.5cm x width 37cm (2) (Condition report: generally good condition, evidence of some damage and restoration to gull's left wing, its beak slightly bent at the tip, some wear to finish, and as stated)

A FRENCH ART DECO SCULPTURE OF TWO DEER, one lying one standing, mounted to a marble base, approximate height 22cm x width 45cm, together with a French Art Deco photo frame, a standing deer and metal fixtures for holding glass are mounted to a marble base, approximate height 16cm x width 38cm

After Mene, Bronze Sculpture of a Sow Pig with Piglets raised on a marble base, 48cm long

Large Art Nouveau design nude lady bronze sculpture sat upon a marble base. Signed. [55cm high]

Heavy Bronze Abstract figure sculpture sat upon a black marble base. [20x30x11cm]

Mario Nick Bronze sculpture of a figure hockey player, green marble base and signed Nick. [21cm high]

Hoselton Sculpture- Canadian aluminium and green marble sculpture- family of ducks. Plaque to base Canada Scotland Golf Tour 1994. [22cm in length]

Filippo Stefani, b1933, Italian, Swan (Dancer), bronze sculpture, mounted on a marble plinth base, 30cm high overall, with certificate of authenticityOverall condition is dirty but complete. A chip to the underside of the right front corner of the base, not immediately obvious. It is not clear which number or edition this scuplture is from the paperwork.

Fragment of a robed figure; 18th century.Carved marbleStem preserved. Iron and lead joints.Measurements: 34 x 26 x 22 cm.Lower fragment of a robed figure, which, from the carving of the stem, it can be deduced that its origin was represented by a female figure. The sculpture is made of marble and despite the lack of the upper part, the sculpture shows a resting attitude, with a slight contraposto which is defined by the position of the feet, one of them being placed in front of the other. The figure shows a great deal of work in the carving which can be seen in the folds of the tunic, combining an area where these are deeper and are combined with other softer ones, seeking a naturalistic treatment of the fabrics. The 18th-century piece follows the models of Roman sculpture from the Republican period, pursuing a realism defined by the naturalistic rendering of the drapery and its adherence to the body.

Large Artemis marble Sculpture Diane bust (45cms)

DAVID KEMP; a contemporary marble sculpture, 'Tsunami', with applied signature and roundel, length 33cm. (D)Additional InformationVery minor chipping to the base, otherwise good.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Italian school, 19th century."Minerva".Carved alabaster.It presents faults.Measurements: 50 x 28 x 15 cm.Bulk sculpture representing the carved alabaster bust of Minerva, the goddess as a warrior wearing a military helmet. Athena is the Greek goddess of war, civilisation, wisdom, strategy, the arts, justice and skill, one of the most important deities of Olympus. She was worshipped throughout Ancient Greece, and in Rome she was assimilated with Minerva. A Virgin Goddess, she was the parthenogenetic daughter of Zeus, born from his forehead, and although she was patroness of several cities, she was best known as the protector of Athens and the entire Attica region. Widely represented in art, her iconography exerted a profound influence on Greek thought, especially on concepts relating to justice, wisdom and the social function of culture and the arts.The term 'Grand Tour', which first appeared in Richard Lassels's 'Voyage d'Italie', was used to define the long journey through Europe, especially Italy, which was regularly undertaken by young British aristocrats from the 17th century onwards, but especially throughout the 18th and 19th centuries. The purpose of the journey was for young people to become acquainted with the art and culture of mainly France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relations with the cultural and political elites of these countries. Travellers were often looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialising in the replication of Roman pieces, both in bronze and marble, sprang up, some of which acquired a great reputation.

After Louis Kley (1833-1911): Bronze sculpture of a boy with horn, signed to the base, on black marble plinth, 35cm high

A GROUP OF EGYPTIAN THEMED ORNAMENTS AND CABINET PLATES, comprising four Royal Worcester Legends Of The Nile series plates 'Tutankhamun At The Hunt', 'The Golden Mask of Tutankhamun', 'Nefertiti', 'Tutankhamun and Ankhesenamun' (all with certificates of authenticity), a Royal Doulton limited edition plate 'The Coronation of Tutankhamun' No.373/3500, a Blue Opal puzzle ball 'Ancient Egypt', a carved stone figure of Horus, height 30cm, a sculpture of Bastet, height 37cm (two chips on the base, a chipped left ear), carved stone Scarab, a small metal Tutankhamun figure on a marble base, height 12cm, etc (13) (Condition report: obvious damage mentioned in description)

ERNEST RANCOULET (French 1870-1915), bronze sculpture of a lady in a green dress holding a riding crop, on a round variegated marble base, 105cm H.

'Lady Motorist' by Duilio Cambellotti (1876-1960), Italian, circa 1910,cast bronze sculpture, initialled 'DC', the slender figure in full-length motoring coat and headgear, 25cm high, mounted on a black marble base. Footnotes:Duilio Cambellotti (10 May 1876 – 31 January 1960) was an Italian applied artist, illustrator, painter, sculptor and designer who played a role in the Arts & Crafts and Art Nouveau movements, and whose influence was social and political as well as aesthetic and artistic. He is recognized for his versatility across a spectrum of visual and design disciplines. He designed all of the bronze competitor's plaques awarded to participants of the Targa Florio races from 1908 to 1925.For further information on this lot please visit Bonhams.com

Philip Hearsey (b.1946), cast bronze abstract sculpture, in the shape of a crest with verdigris interior, on a tapered faux marble pedestal, the bronze with monogram and number 257A, 22 cm high x 23 cm wide

Auguste Moreau (French 1834-1917). A bronze sculpture of a putto riding a beetle, raised on a naturalistic square base, above a porphyry marble base, signed, 8.5cm wide.

After Archibald Thorburn, a parcel-gilt bronze eagle head sculpture, on black marble base, unsigned, height 25cmProbably quite modern, in very good condition

After Archibald Thorburn, a French bronze sculpture of an eagle, on turned marble base, height 32cm In good original condition

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

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

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

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

A MARBLE HEAD OF AVALOKITESHVARACarved with serene expression, arched eyebrows above down-cast eyes, aquiline nose, pouting lips, all between elongated earlobes, beneath striated hairdress combed into a curled chignon, stand. 47cm (18 1/2in) highFootnotes:Provenance: A European private collectionThe present head is remarkable for its sensitive carving style. The full fleshy face, narrow slit eyes and arched brows, which form a harmonious curve with the ridge of the nose, as well as the coiffure with hair drawn back into a high chignon, appear to be a direct derivation from the the classic style of the Bodhisattva image which developed during the Tang dynasty (618-907).Guanyin is the popular feminised form of Avalokiteshvara, the Bodhisattva of Compassion, and is one of the Buddhist deities most favoured in China for sculptural and pictographic representation. According to the 'Lotus Sutra', Guanyin can take any form necessary to save sentient beings, and mentions thirty-three form which the deity could take, of which seven were female. The figure's sensual curves however, evoke a distinctly feminine feel, and by the Ming dynasty, Guanyin was usually depicted in a feminine form.Stylistically, the present lot is inspired by Tang dynasty prototypes. See for example, a standing stone stone bodhisattva, Tang dynasty, with related facial features and hair style from the Cleveland Museum of Art, Tang dynasty, illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, London, 1925, vol.2, pl.376 C.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An early 20th century marble sculpture of a nude maiden reclining on a garland and floral base 29cm high by 26cm wide

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

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

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

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

French School. 19th century."Youth"Terracotta sculpture. Signed. With a marble base. Height with plinth: 53 cm. Height without plinth: 44 cm.

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

Ruth van Ruyckevelt (1931-1988) sculpture entitled 'Rearing Stallion' approx 31 cms h, nr 10/12 mounted on a green marble plinth. 

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

 Seltene OTTO PILZ-Marmorkaminuhr mit Fuchs und Hase. LENZKIRCH. Um 1910/20. Verso Ritzsignatur "O. Pilz". Werknr. 851578 mit Zusatz 1 Million.Gemarktes Federwerk mit Halbstundenschlag auf Glocke, Schlüsselaufzug, Werk wurde überholt und läuft. Versilbertes Zifferblatt mit arabischen Zahlen, Minutenkranz und Spadezeigern.Weißer, dunkel geäderter Marmor. 33 x 27,5 x 20 cm. Jugendstil-Uhr als Einzelanfertigung nach einem Entwurf von Otto Pilz, in Form eines Natursockels, in dem sich ein Hase versteckt. Bekrönende Fuchsplastik in lauernder Jagdhaltung. Restauriert.Mit Schlüssel.Shipping not available. Rare OTTO PILZ marble mantel clock with fox and hare. LENZKIRCH. Around 1910/20. Verso incised signature "O. Pilz". Werknr. 851578 with addition 1 million.Market spring movement with half hour strike on bell, key winding, movement was overhauled and runs. Silvered dial with Arabic numerals, minute ring and spade hands.White dark veined marble. 33 x 27.5 x 20 cm.Art Nouveau clock as a one-off design by Otto Pilz, in the form of a natural base hiding a hare. Crowning fox sculpture in lurking hunting posture. Restored.With key.Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

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

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

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

TRÈS RARE ET IMPORTANTE TÊTE DE BODHISATTVA EN PIERREDynastie des Qi du Nord (550 – 577 ap. J.-C)AN IMPORTANT AND EXTREMELY RARE LARGE STONE HEAD OF A BODHISATTVA Northern Qi Dynasty (550-577 AD)The serene face with full lidded eyes downcast below high arched brows set with a central urna, with well-defined nose, sensuous bud mouth and set chin, with full rounded cheeks, flanked by the pendulous ears, below the arched centrally-parted black-pigmented hair, surmounted by a tall tri-foliate bejewelled crown, with traces of black, copper-green and azurite pigments, stand. 43.5cm (17in) high. (2).Footnotes:Provenance:Loo & Cie, Art Ancien de Chine, ParisRobert Rousset, Paris (1901-1981); acquired from the above on 21 February 1924Jean-Pierre Rousset, Paris (1936-2021) The wood stand by Kichizo Inagaki (1876-1951; active in Paris from 1906)Elegantly proportioned and superbly carved, the present head is a remarkable testament to the high standards achieved in Buddhist portraiture during the Northern Qi period, one of the most vibrant periods in the history of Chinese art. At this time, Buddhism flourished in China, with several shrines being constructed under the emperor's personal auspices and eminent monks were appointed as state preceptors. Buddhist art experienced a glorious moment following the dissemination of foreign ideas and styles and copious financial resources were devoted to the construction of Buddhist caves whose marvellous sculptures combined powerful and sensuous modelling with subtlety of expression. These features were likely to have derived from the contemporary Indian style of the Gupta period, which was highly regarded by the Qi aristocracy for its exotic traits. The benevolent expression, conveyed by gently downcast eyes and gentle smile of this majestic head, indicate that it represents Avalokiteshvara, also known as Guanyin, the benevolent Bodhisattva of Mercy. In Buddhist faith, images of deities served as important foci of worship and promoted significant devotional acts, which contributed to the devotee's personal growth towards spiritual liberation.Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.Compare with a related limestone head of a bodhisattva, Northern Qi dynasty, from the Nelson Atkins Museum, Kansas City (acc.no.F99-1). See also a limestone head of a bodhisattva, Northern Qi dynasty, from the Museum of Art, San Diego, illustrated by K.Tsiang, Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. See also a related monumental sandstone standing figure of Guanyin, Northern Qi dynasty, in the Metropolitan Museum of Art, New York, illustrated by A.F.Howard, et al, Chinese Sculpture, New Haven, 2006, p.288, fig.3.92.See a smaller white marble head of Mahasthamaprapta, Northern Qi dynasty (34cm high), which was sold at Bonhams London, The Ollivier Collection of Early Chinese Art, 8 November 2018, lot 31.Socle en bois de Kichizo Inagaki (1876-1951; actif à Paris à partir de 1906)Elégamment proportionnée et délicatement sculptée, cette tête est un remarquable témoignage du raffinement atteint dans l'art du portrait bouddhique à l'époque des Qi du Nord, une des périodes les plus dynamiques de l'histoire de l'art chinois. Le bouddhisme était alors florissant en Chine, avec plusieurs sanctuaires en construction sous le patronage personnel de l'empereur, et d'éminents moines nommés précepteurs à la Cour.Avec la diffusion d'idées et de styles étrangers, l'art bouddhique connut une période brillante, et d'abondantes ressources financières furent allouées à la construction de grottes bouddhiques, dont les magnifiques sculptures combinaient modelé puissant et sensuel et subtilité de l'expression. Ces particularités étaient probablement dérivées du style indien contemporain de l'époque Gupta, lequel était très admiré par l'aristocratie des Qi pour ses traits exotiques.L'expression bienveillante, donnée par les yeux délicatement baissés et le doux sourire de cette tête majestueuse, indique qu'elle représente Avalokiteshvara, aussi appelé Guanyin, le bienveillant boddhisattva de la compassion. Dans la foi bouddhiste, les images des divinités étaient d'importants foyers pour le culte, et encourageaient d'importants actes de dévotion, qui contribuaient à la progression personnelle du fidèle vers la libération spirituelle.Avalokiteshvara (appelé Guanyin en Chine), vénéré dans le bouddhisme indien comme l'incarnation de la compassion du Bouddha, est décrit dans le Sutra du Lotus comme capable d'entendre toute l'humanité, s'efforçant indéfiniment d'aider ceux qui l'invoquent dans leurs prières, se transformant à volonté et apparaissant sous plus de trente aspects humains pour exposer l'enseignement bouddhique aux fidèles.A comparer avec une tête de bodhisattva en calcaire similaire, dynastie des Qi du Nord, au Nelson Atkins Museum, Kansas City (acc.no.F99-1). Voir aussi une tête de bodhisattva en calcaire, dynastie des Qi du Nord, au Musée d'Art de San Diego, illustré dans K. Tsiang, Echoes of the Past : The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. Et voir une statue monumentale de Guanyin debout en grès, dynastie des Qi du Nord, au Metropolitan Museum of Art, New York, illustré par A.F. Howard et autres, Chinese Sculpture, New Haven, 2006, p.288, Fig. 3.92. Voir enfin une plus petite tête de Mahasthamaprapta en marbre blanc, dynastie des Qi du Nord (H. 34 cm), vendu chez Bonhams à Londres, The Ollivier Collection of Early Chinese Art, le 8 novembre 2018, lot 31.北齊 石雕菩薩首來源：巴黎古董商盧芹齋巴黎Robert Rousset（1901-1981）舊藏，於1924年2月21日購自上述巴黎Jean-Pierre Rousset（1936-2021）舊藏木座為稲垣吉蔵（1876-1951，自1906年後活躍於巴黎）所製。北齊帝皇尊崇佛法，屢屢敕建佛寺佛窟，並徵召高僧如僧稠等入朝為師。此佛教隆盛之世，亦為中國佛教藝術高峰之一。本尊首像容貌安恬，冠飾華麗，比例勻稱，雕工審慎，乃北齊佛教造像藝術之代表。融合了豐富多彩的外來文化及藝術風格，兼有皇權護持，佛教藝術在北朝蓬勃發展。在皇室斥巨資並主ý... For further information on this lot please visit Bonhams.com

Marmorskulptur "Badende", nach Etienne Maurice Falconet (1716-91), Frankreich, um 1900 Fein gearbeitete Skulptur aus poliertem weißen Marmor. Darstellung einer jungen Frau, ihr Gewand für ein Bad abstreifend. Auf dem Sockel bezeichnet "Falconet fecit". Höhe 82 cm. A French marble sculpture "Girl Bathing", after Etienne Maurice Falconet (1716-91), circa 1900 Fein gearbeitete Skulptur aus poliertem weißen Marmor. Darstellung einer jungen Frau, ihr Gewand für ein Bad abstreifend. Auf dem Sockel bezeichnet "Falconet fecit". Höhe 82 cm.

Liegender Löwe aus Marmor, Italien, 19. Jhdt. Vollplastische Skulptur aus weißem Marmor. Darstellungen eines liegenden männlichen Löwen mit dichter Mähne, den Schwanz unter die Hinterläufe gelegt. Auf rechteckiger Plinthe. Maße 101 x 47 x 35 cm. An Italian marble sculpture of a lion, 19th century Vollplastische Skulptur aus weißem Marmor. Darstellungen eines liegenden männlichen Löwen mit dichter Mähne, den Schwanz unter die Hinterläufe gelegt. Auf rechteckiger Plinthe. Maße 101 x 47 x 35 cm.

Stefano Galletti - "Die Sinnende", Rom, datiert 1864 Vollplastisch gearbeitete Figur aus weißem Marmor. Darstellung einer jungen Frau in antikisierender Tracht. Das linke Bein auf ein kleines Podest gestellt, steht sie nachdenklich mit gesenktem Haupt da, die rechte Hand sinnend vor die Brust gehoben. Auf der Plinthe signiert "Stefano Galletti, Rome 1864". Höhe 180 cm.Stefano Galletti (1835 - 1905), italienischer Bildhauer, tätig u.a. in Rom. Sein bekanntestes Werk ist die Statue der Liberty auf dem Platz vor dem Palazzo Publico in San Marino. Stefano Galletti - a marble sculpture of a young woman, Rome, dated 1864 Figure of white marble. Portrayal of a young woman in an ancient-style gown. Her left leg resting on a small pedestal, her head lowered and apparently contemplating, her right hand raised to her chest in a reflective gesture. Signed "Stefano Galletti, Rome 1864" on the base. Height 180 cm.Stefano Galletti (1835 - 1905), Italian sculptor, active in Rome etc. His most famous work is the Statue of Liberty on Liberty Square in San Marino.

John Warrington Wood (1839 - 1886) - Marmorskulptur der sitzenden Eva Lebensgroße Figur der unbekleideten Eva in sitzender Haltung, den Kopf zur Seite gewandt, zu ihren Füßen die Schlange. Auf ovaler Plinthe mit Bodenstruktur. Auf der Plinthe signiert "J. Warrington Wood, Roma". Die Finger der linken Hand am Ansatz gebrochen, restauriert. Höhe 104 cm. John Warrington Wood (9. September 1839 - 26. Dezember 1886), gelernter Bildhauer, studierte ab 1858 an der New Warrington School of Art. Verlegte 1865 seine Werkstatt erfolgreich nach Rom und wurde dort 1877 von der Lukasgilde aufgenommen. Er stellte von 1868 bis 1874 Werke an der Royal Academy in London aus.Provenienz: Auktionshaus Christie's, London, 25. Sept. 1991, damaliger Zuschlag umgerechnet 48.387 Euro. John Warrington Wood (1839 - 1886) – a marble sculpture of the seated nude Eve The life-sized figure of the unclothed Eve in a seated posture, her head turned to the side, the serpent at her feet. Mounted on an oval plinth with a textured base. The plinth signed "J. Warrington Wood, Roma". The fingers of the left hand broken at the base and restored. Height 104 cm. John Warrington Wood (9 September 1839 - 26 December 1886) was a trained sculptor, studying at the New Warrington School of Art from 1858. In 1865, he successfully moved his workshop to Rome, where he was accepted by the Guild of Saint Luke in 1877. From 1868 to 1874, he exhibited works at the Royal Academy in London.Provenance: Christie's, London, 25 September 1991, selling for the equivalent of 48,387 euros.

Lebensgroße Skulptur der Jagdgöttin Diana, Italien, 2. Hälfte 19. Jhdt. Vollplastische Darstellung der Göttin aus weißem Carrara-Marmor. Die junge Diana mit vom Wind gebauschtem Chiton, die rechte Hand mit dem Mantelzipfel emporgehoben. Auf ihrem Rücken ein Pfeilköcher, zu ihrer Linken ein Jagdhund. Quadratische Plinthe mit kräftigem, hüfthohem Baumstumpf. Höhe 190 cm. A life-size Italian marble sculpture of the goddess Diana, 2nd half of the 19th century Figure of the goddess of white Carrara marble. The young Diana, her chiton billowing in the wind, her right hand raised and holding the tip of her dress. A quiver on her back, a hound to her left. Square base with robust, waist-high tree stump. Height 190 cm.

Odysseus mit seinem Hund, lebensgroße Marmorskulptur, Großbritannien, 2. Hälfte 19. Jhdt. Vollplastisch gearbeitete Figurengruppe aus weißem Carrara-Marmor. Darstellung des nach langer Odyssee nach Hause zurückkehrenden Odysseus mit Lendenschurz und einfacher Kappe. Zu seiner Linken sein treuer Hund Argos, der seinen Herrn als einziger nach 20 Jahren Abwesenheit wieder erkennt. Rechteckige Plinthe mit kräftigem Baumstumpf, an der Vorderseite bezeichnet "Ulysses and his dog". Die Finger der linken Hand beschädigt, restauriert. Höhe 190 cm. Ulysses and his dog, life-size British marble sculpture, 2nd half of the 19th century Figure group of white Carrara marble. Ulysses wearing a loin cloth and simple cap, returning home after his long journey. At his left his faithful dog Argos who is the only one recognising Ulysses after his 20 years of absence. Rectangular base with thick tree stump, the obverse inscribed "Ulysses and his dog". The fingers of his left hand damaged, restored. Height 190 cm.

Antoinette Bronze Art Nouveau style lady holding a pigeon sculpture, fitted on a marble base [39cm high]

Mario Nick Bronze sculpture of a figure canoeing, green marble base and signed Nick. [26cm in length]

EUTROPE BOURET (Paris, 1833 - 1906)."Allegory of History".Bronze sculpture and onyx base.Signed.Size: 38 x 19 x 15 cm; 2 x 25 x 19 cm (base).Ornamental sculpture made in a rounded mass raised on an onyx base. It is an evidently neoclassical work, contained in its expressiveness, full of grace, an allegory of history taking into account the inscription in the book that the woman is holding.Eutrope Bouret was a French sculptor, a pupil of Louis Buhot. Throughout his career the artist worked with various techniques and materials, including marble, plaster, terracotta and bronze, and also produced a number of chryselephantine pieces. Among his most notable works is the bust of the writer Alexis Bouvier, which once adorned his tomb in the popular Parisian cemetery of Père-Lachaise, which has now disappeared. Bouret's sculpture often deals with classical themes, such as allegories of love, springtime or the arts, but he also shows a great interest in the Middle Ages in a novelistic and romantic sense.

ERNST SEGER (Neurode, 1868 - Berlin, 1939 )"Woman gathering up her dress". ca. 1920Art Deco sculpture, in alabaster. With marble base.Signed on the base. Size: 31 x 19 x 11 cm (figure); 6 x 18 x 11 cm (base).Alabaster sculpture, representing a female figure dancing or picking up her dress, in a scene of great plasticity and movement. With veined marble base. Signed on the base. Ernst Seger was a German sculptor and medallist. From 1884 he attended the sculpture class at the Royal School of Arts and Crafts in Breslau with Robert Härtel and worked in the studio of Christian Behrens from 1886. From the late 1880s he received his first major commissions for monuments. After working in Auguste Rodin's studio in Paris in 1893 and 1894, he ran his own studio in Berlin. In 1895 he created a monument to Kaiser Wilhelm for Glatz. Around 1900 he became popular for his Art Nouveau sculptural works, especially female nudes.

Coming Through The Rye After Frederic Remington Large cast bronze sculpture 'Coming Through The Rye', After Frederic Remington (American, 1861-1909) Modelled as four cowboys on horseback with guns pointing to the sky, inscribed 'Frederic Remington', standing on a rectangular marble base. A life size version of this sculpture featured at the St. Louis World's Fair in 1904, the Louisiana Purchase Exposition. 74cm wide, 75cm highBronze in good overall condition, no missing parts. Marble base has small chips to the corners, a couple of small dents to the top surface and general wear with surface scratching.

A modern cast metal limited edition sculpture depicting a bald eagle with the American flag set in a polished marble plinth made by Mixed Media in the 'Legends' range