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G Mariani - A contemporary bronze sculpture modelled as a male hand holding a female hand, on a square marble plinth, incised signature and dated 12.6.89, height 29cm.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Manola", 1932.Patinated terracotta.Signed at lower left.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 98, no. 152.A bronze copy of this work is in the collection of the MNAC (Museu Nacional d'Art de Catalunya), number inv.010552-000, acquired at the Spring Exhibition in Barcelona, 1932.Marble base.Size: 24 x 13 x 8 cm (figure); 5 x 10.5 x 10.5 cm (base).Airy Manola, whose volumetric simplification manages, paradoxically, to give an idea of graceful movement, attesting to a great plastic mastery.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

λ JACOB EPSTEIN (AMERICAN/BRITISH 1880-1959)FOURTH PORTRAIT OF DOLORES BronzeHeight (including base): 46cm (18in.)Conceived in 1923. Provenance:Ruskin Galleries Ltd., Stratford-on-AvonJohn R. Brown, Private Collection, Stratford-on-AvonThence by descent to the present owner Literature:Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, no. 135, p. 135 (illustration of another cast)Condition Report: Light surface dirt throughout. Head free-standing on floating wooden stand attached to marble base. In good original condition.Height of sculpture excluding base is 24.5cm Some rubbing and loss to the edges of the marble base. Glue residue to the right side corner of the base. Condition Report Disclaimer

Sir JACOB EPSTEIN [1880-1959]. Study for Sculpture [large marble carving - Euphemia Lamb - 'Fountain Figure'], 1908. pencil on paper [double-sided drawing]; signed. 50 x 32 cm - framed. Provenance: The artist; private collection, USA; private collection, UK. This is a unique study for one of Epstein's earliest carvings - a marble figure 'Fountain Figure', 1908-10, modelled by Euphemia Lamb - the marble carving is currently in a museum in Switzerland. Epstein's early studies for sculpture are rarely seen and mostly in museum collections - few are in as good condition as this. [very good condition - there is a little discolouration/staining on the reverse - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.

A French miniature bronze sculpture of a cow, cast from a model by Isidore Bonheur, 19th c, on rouge griotte marble base, 85mm h and a French bronze sculpture of a bulldog (2) Marble base damaged

Mid 20th Century marble sculpture of abstract form on a cube plinth base, 15ins highSculpture does have cracks and some fillers possibly broken and restored

O.M. (early 20th Century German School), a young climbing bear, bronze, signed with initials 'O.M.' and dated 1916, with foundry mark 'LAUCHHAMMER BILDGOSS 36', mounted on a marble plinth, 16cm highQty: 1The sculpture in good condition, the plinth cracked through, glued and with chips.

AN EDGE SCULPTURE OF A WHITE LION HEAD, handmade marble resin sculpture bust, authentic signature by artist Matt Buckley on the back, height 45cm (1)

Large marble sculpture "young woman" XIXth signed - Weight: 26.30 kg - Sizes: H 760 mm - Condition: At first sight - good condition - no restoration - not repaired

MARK ANTOKOLSKY (LITHUANIAN-RUSSIAN 1840-1902)Bust of Mephistopheles,circa 1875bronze with brown and green patina24 cm (9 1/2 in.)signed on the right of the baseLOT NOTESFollowing the glowing acclaim of Mark Antokolsky's marble sculpture Mephistopheles, which entered the collection of the Hermitage Museum in 1886, a mere three years after its completion, the artist produced bronze versions of the figure's bust to capitalize on the project's success. At the onset, Antokolsky turned to Johann Wolfgang von Goethe's Faust for inspiration for the figure, which he referred to as the equally powerful counterpoint to his earlier sculpture of Christ. Lacking clothing or any identifiable characteristics tying him to a particular period or place, the artist nevertheless epitomized the demon of the modern age. In an 1883 letter to E. G. Mamontova, Antokolsky wrote: Mephistopheles is a product of all the ages, and ours in particular. We can say that I dreamed up this being, that this is purely my fantasy, or you could ask where I saw such a being? Yes, no one sees him like this, but we sense his breathing, feel his monstrous paw pressing on our chest, sense our inability to cry out, in a word, we see the nightmare.

French gilt bronze and rose marble marble clock, late 19th century, having a white enamel face with Roman dial, approx 19 x 17 x 27 cms (elements of the clock are missing) but the key is present. (af)Condition ReportElements of this clock are missing including the sculpture on the top of the clock, The face has some damage. The panels of this clock are loose.  

Milo: a modernist patinated bronze sculpture of a reclining female nude, signed ‘Milo’, veined marble base, 37cms high.

Large Artemis marble Sculpture Diane bust “Ancient Greek Goddess” - H45cm

Arts and Commerce promoted veiled lady marble sculpture, H36cm

LARGE CONTEMPORARY CARVED MARBLE SCULPTURE - SIGNED. An interesting large carved marble sculpture, of curved shape with pierced openings. Signature near the base (very difficult to read, possibly Suaiyari?) 50cms high. * This has been outside in the garden and various scratches, scuffs and marks over time. **BP 22.5% inc VAT + Lot Fee of £8

A BRONZE SCULPTURE OF A DOGS HEAD MOUNTED ON A MARBLE STAND

LORENZO QUINN (Rome, 1966)."Contigo", 2006.Bronze-plated resin, copy 739/999.Stainless steel support on travertine marble base.Signed and numbered.Attached certificate of authenticity issued by Forumdart.Size: 38 x 26 x 18.5 cm (sculpture); 43 x 26 x 18.5 cm (base).The hands that emerge from the ground and support threatened buildings, or that caress and embrace, have been worked by Lorenzo Quinn in countless and tireless forms, and as public sculpture have been seen in international events such as the Venice Biennale (2017).The son of actor Anthony Quinn, the sculptor grew up in the United States and Italy, and it was in Italy that he learned to appreciate art. At the age of twenty-one, he earned the respect of New York art society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly afterwards he received a major commission from the Vatican, which commissioned him to create a sculpture of the saint for the 8th centenary of the death of Saint Anthony. Quinn has held exhibitions on five continents, and his work is represented at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were unveiled at the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Louis Kley (French, 1833-1911) A Baroque revival parcel-gilt bronze sculpture of Cupid, on variegated marble and bronze platform base, 18.5 cm

After Demétre Chiparus A reproduction Art Deco bronze sculpture of an exotic dancer, bearing a foundry mark, on a variegated marble plinth, 56 cm

LUISA GRANERO SIERRA (Barcelona, 1924)."Maternity".Sculpture in patinated bronze, on marble base.Signed on the right side.Includes 100 cm high lacquered wooden base.Measurements: 55 x 28 x 38 cm (sculpture).Luisa Granero trained in Barcelona, at the School of Fine Arts of Sant Jordi. She was a disciple and assistant to the sculptors Jaume Otero and Enric Monjo and, later, professor of sculpture at the current Faculty of Fine Arts in Barcelona, where she obtained her doctorate in 1983. She is currently a member of the Royal Academies of San Fernando in Madrid, Santa Isabel de Hungría in Seville and Sant Jordi in Barcelona, and has been a member of the National Sculpture Society of New York since 1973. He has won several prizes, including the City of Barcelona, and has several public works in that city, as well as in Zaragoza and Palma de Mallorca. He has also held open-air exhibitions in various places, such as around Malcesine Castle in Italy (2004) and in Sitges (2007). In 2009 he received the Autocugat Art Prize.

Sculpture-fountain, 20th century."Toad".Marble.Unsigned.Stone pedestal.Size: 30 x 30 x 33 cm; 30 x 36 x 36 x 36 cm (pedestal).Sculpture worked in rounded bulk, in white marble. It represents a toad with its head raised and from whose mouth a hole emerges in order to function as a fountain. The smooth skin of the animal contrasts with the roughness of the rock on which it rests.

An bronze sculpture of a mountain lion or cougar, modelled resting on a trunk, mounted on a marble base, 51cm high

Modern bronze sculpture on marble base. Verso naked lady. Unclearly signed. Second half of the 20th century. Dimensions: H 58 cm. In good condition.

Bronze sculpture on black marble base. 21st century. Signed Modigliani. Dimensions: H 25.5 cm. In good condition.

Paul Insect (British 1970-), 'Motion Alone', 2021, mixed media sculpture with marble base, signed and numbered from an edition of 100 to the underside of the base, published by Ding Dong Takuhaibin; Height 43 x Width 34.3 x Depth 7cmARRHeight 43 x Width 34.3 x Depth 7cm

Lesende Dame, Wien, um 1910Sog. Chryselephantin-Figur. Wohl von Emil Meier ( geb. 1877 Weckelsdorf, Böhmen). Bronze, patiniert, Kopf in Elfenbein eingesetzt. Sockel Gießermonogramm "AR" (Gießerei Arthur Rubinstein, Wien), Signatur alt getilgt. In Armlehnstuhl niedergelassene junge Frau im historisierenden Gewand, in die Lektüre eines Buches versunken, auf flachem dunklen Marmorsockel montiert, H: Bronze 21 cm, H ges. 23 cm. BITTE BEACHTEN: VERSAND ERFOLGT NUR INNERHALB DER EU - SHIPPING TO THE EU MEMBER COUNTRIES ONLY! Bronce sculpture of a woman reading, with ivory details, foundry monogram "AR" (Arthur Rubinstein, Vienna). Vienna, ca. 1910. Signature at pedestal removed. Marble base. H. incl. base 23 cm

'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.

A bronze sculpture, of a seated girl, signed Milo, rectangular marble base, 27cm high

An Art Nouveau style patinated bronze figural sculpture, dancing girl, unsigned, on black marble base, overall height 45cmNo damage or restoration

After Archibald Thorburn, a French patinated bronze sculpture, eagle on naturalistic base with Paris guarantee stamp, signed, on black marble base, overall height 31cmNo damage or restoration

A reproduction patinated bronze figural sculpture, Classical man and lady dancing, signed Sartokisio, on black marble base, overall height 28cmNo damage or restoration

After Ferdinand Seeboeck, reproduction patinated bronze figural sculpture, nude woman bathing cherub, signed and inscribed Roma 1895, on veined marble base, overall height 21cmNo damage or restoration

After Mathurin Moreau, large patinated bronze figural sculpture, angel and cherubs, unsigned, on green marble base, overall height 41cmNo damage or restoration, sculpture currently loose from base

Harskamp, Peter (The Hague 28 March 1951)"Head of a woman with a cat on top", bronze sculpture on marble base, h 69 x w 32 x d 23 cm.

Miguel Fernando Lopez 'Milo' (b. 1955), a bronze sculpture of two swans, signed Milo and numbered A1451, with a J.P. Deposee seal, on a marble base 19.5cm in length

Alabaster Bust sculpture of a lady on a marble plinth by Arnaldo Giannelli signed, H: 25 cm. No cracks, chips or visible restoration. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Marble sculpture of the veiled lady by Chatsworth Pottery Arts Studio, H: 36 cm. No chips, cracks or visible restoration. Not available for in-house P&P

ALBERT TOFT (1862-1949) 'Joie de Vivre' a nude female standing atop a ball on a bronze plinth, above a marble base, signed and dated 1927 to the reverse of the ball, bronze, 28cm high overallA member of the British New Sculpture movement, Toft is well known for his public commissions of Royal and notable subjects and for his First World War memorials. Less familiar is his small scale work, in bronze and other materials, of which this is a good example, blending as it does romance, realism and Art Deco.

*MAT CHIVERS (B. 1973) 'Erosive Rhythm' naturalistic marble sculpture, approximately 65cm x 45cm x 40cm; together with a maquette study for the finished piece (2)Provenance: The Collection of Bournemouth & Poole College.Mat Chivers is a British artist born in 1973 in Bristol. As an object-former and sculptor he has collaborated with other artists, architects, designers and communities to realise projects that result in the evolution of sculpture in the context of both natural and built environments. Solo exhibitions include the Study Gallery of Modern Art in Poole (2007). Projects include Arts Council England awards in 2003 and 2005. Works in public collections include Source at the Healthy Living Centre, Bristol (2004) Meander (1 & 2) at Avon and Wiltshire Mental Health Partnership NHS Trust (2006), and Wave Migration collection of The Met Office headquarters, Exeter (2004).

A MARBLE HEAD OF BUDDHA, TANG DYNASTYChina, 618-907. The full face carved with small, delicate features, such as the heavy-lidded eyes below the gently arched eyebrows and the full lips pursed to form a subtle smile, all below the hair dressed in waves with two whorls above the forehead and a third whorl below the pronounced ushnisha.Provenance: Collection of Rene Vittoz, thence by descent. Rene Vittoz (1904-1992) was a Swiss scholar of Romance languages and a teacher of French and art history. He authored several books, including 'Essai sur les Conditions de la Poesie Pure' and a play, 'L'ivresse de Noe' (Drunkenness of Noah). He was also a painter and a passionate collector of Asian and European works of art. After his death, a number of works in his collection were auctioned at Christie's.Condition: Excellent condition, commensurate with age. Extensive wear, losses, minor nicks and scratches. The back with two circular recesses showing remnants of iron, indicating a prior mounting. Fine, naturally grown, honey-brown patina.Weight: 6.2 kg (incl. base)Dimensions: Height 21 cm (excl. base) and 36.5 cm (incl. base)Mounted to an old wood base with metal fittings, dating to the earlier 20th century, allowing the head to be turned 360°. (2)Literature comparison: Stylistically this head closely relates to other mid-Tang limestone figures from the Longmen caves. See two heads of Buddha (32 and 66 cm high) in the Avery Brundage Collection, illustrated in Chinese, Korean and Japanese Sculpture, Asian Art Museum of San Francisco, Japan, 1974, pp. 212-5, nos. 104 and 106 (the larger head with the object number B60S38+). Of particular note is the treatment of the hair, with both the illustrated examples and the present lot exhibiting two whorls above the forehead and a third whorl below a pronounced ushnisha. Another feature of this group is the relatively plump face, with deeply set eyes beneath high, arched eyebrows. These same features are also seen on a number of other examples from this group, illustrated in The Lost Statues of the Longmen Caves, Shanghai, 1993, pp. 49-59. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 21 September 2021, lot 109Price: USD 40,320 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A marble head of bodhisattva, Tang DynastyExpert remark: Compare the related form, expression, curled hair, and material. Note the size (12.7 cm) Auction result comparison:Type: RelatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A small dark grey stone head of buddha, Tang dynasty (618-907)Expert remark: Compare the related form, expression, and distinct whorls. Note the size (11.5 cm) Auction result comparison:Type: RelatedAuction: Christie's New York, 18 March 2009, lot 350Price: USD 32,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: A dark grey stone head of buddha, Tang dynasty (618-907), Longmen cavesExpert remark: Compare the related face, expression, and distinct whorls. Note the size (25.5 cm)唐代大理石佛頭中國，618-907年。莊嚴、大氣、飽滿的佛陀頭像，面部略顯豐腴，眼睛細長，拱形的眉毛，形成與鼻脊和諧曲線，眉間白毫，以及盤到頭上的高高髮髻，表現出唐代佛像經典風格。 來源：Rene Vittoz收藏，保存至今。Rene Vittoz (1904-1992) 瑞士羅曼語學者、法語和藝術史教師。 他撰寫的幾本書，包括 “Essai sur les Conditions de la Poesie Pure”和一部戲劇“L'ivresse de Noe”（諾亞的醉酒）。 他也是一位畫家，同時也是亞洲和歐洲藝術品的熱情收藏家。 在他去世後，他收藏的多件作品在佳士得拍賣。 品相：狀況極佳，與年齡相稱。 廣泛的磨損、缺損、輕微的劃痕和刻痕。背面有兩個圓形凹槽，顯示鐵的殘留物，表明之前的有支架。自然生長的蜜褐色包漿。 重量：6.2 公斤 (含底座) 尺寸：高21 厘米 (不含底座)，總36.5厘米 木底座，金屬支架，應為二十世紀，頭像可以360° 轉動以便觀摩。 (2) 拍賣結果比較：形制：相近拍賣：紐約蘇富比，2021年9月21日，lot 109價格：USD 40,320 描述：唐代大理石菩薩首像專家評論：比較相近的外型、表情、捲髮和材質。請注意尺寸(12.7厘米)。拍賣結果比較：形制：相近拍賣：倫敦佳士得，2018年5月15日，lot 158價格：GBP 18,750 描述：唐代石雕佛頭像專家評論：比較相近的外型、表情和髮髻上的螺旋紋。請注意尺寸(11.5厘米)。拍賣結果比較：形制：相近拍賣：紐約佳士得， 2009年3月18日，lot 350價格：USD 32,500 描述：唐代龍門灰石雕佛頭像

A MARBLE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Buddha is shown seated in padmasana on an oval base, dressed in heavy robes with cascading folds tied at the waist, the face with a serene expression, downcast eyes below gently arched eyebrows, and the smooth hair surmounted by an ushnisha, flanked by two elongated earlobes. Fine ancient polish with an unctuous feel overall.Provenance: From the collection of Michael Phillips, Los Angeles, California, USA. An old collector's label to the base. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and shallow surface scratches, some losses, and minor cracks. Magnificent natural patina of ivory color overall.Weight: 1,357 g Dimensions: Height 17.2 cmLiterature comparison:Compare a related marble figure of buddha, dated to the Tang dynasty, in the collection of the Metropolitan Museum of Art, accession number 28.114.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.唐代漢白玉佛像中國，618-907年。佛像坐在橢圓形底座上，頭上有螺髻，身著僧袍，褶皺紋理流暢，面部表情慈祥安寧，眼睛微閉，眉毛微拱，長耳垂。漢白玉整體瑩潤光滑。 來源：美國洛杉磯Michael Phillips 私人收藏，底座有藏家收藏標籤。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕跡象、土壤結殼、少量刻痕和表面淺劃痕、一些缺損、輕微裂縫。整體呈現象牙色的自然光澤。 重量：1,357 克 尺寸：高17.2 厘米 文獻比較： 比較一件相近的唐代漢白玉佛像，收藏於大都會藝術博物館，編號28.114。

Torso of the goddess Diana the Huntress. Roman. 2nd-3rd century AD.Marble.Provenance: private collection, Tel Aviv. Private collection, New York. Purchased at Fortuna Fine Arts, New York, between 1980-2000.Good state of preservation, no restorations.Measurements: 44.5 cm. high; 52 cm. high with pedestal.Roman sculpture in marble. It is the torso of Diana, the goddess of hunting (similar to the Greek Artemis). It is a free-standing piece, worked in the round to be seen from either side, so that the chiton has been masterfully draped with deep naturalistic folds and in different layers, like skilful kolpos at hip level. At the back, a diagonally diagonal garment serves as the strap of the quiver. The goddess of nature, forests and hunting, she must have originally carried a quiver with a bow and arrow, and may have been accompanied by a dog or a piece of game. The influence of Greek statuary is evident.The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its art treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the looting and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applause of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the extent that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.

A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled, the face framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing mustache below a straight nose, and a full beard set around full lips, the eyebrows and pupils with cold paint.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, fully consistent with the age of the sculpture. Some firing flaws, dents and losses to exposed areas, the nose tip with a small old repair. Remnants of a varnish coating which was applied a long time ago. Some ancient pigment is well preserved, especially to the eyebrowsFrench Export License: Certificat d'exportation pour un bien culturel Nr. 185423 dated 3 July 2017 has been granted and a copy is accompanying this lot.Weight: 10.2 kg Dimensions: Height 48.5 cm (incl. stand), 32.5 cm (excl. stand)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture, but the naturalistic face is reminiscent of Greco-Roman sculpture. The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic iinfluences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Literature comparison: Compare a related terracotta head of Dionysos, dated to the 4th-5th century Gandharan, in the collection of the Metropolitan Museum of Art, accession number 1979.507.2. Sculptures with similarly substantial beards are also common to Gandharan Atlantes, see Zwalf, Gandharan Sculpture, London, 1990, pp. 208-10 and 216, nos. 362-64, 366, and 377.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3105Estimate: HKD 1,500,000 or approx. EUR 199,500 converted and adjusted for inflation at the time of writingDescription: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the similar facial features and the wavy beard and hair. Note that the provenance of this statue is identical to the present lot and stated as “Collection of Arthur Huc (1854-1932), France, by repute.”Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 4Price: HKD 625,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writingDescription: A bronze inlaid marble head of a bearded man, ancient region of Gandhara, circa 3rd centuryExpert remark: Compare the closely related wavy beard and hair as well as the similar size (31 cm). Note that the head is carved from marble with bronze-inlaid eyes, and is dated slightly earlier.陶土金剛手菩薩神頭像呈赫拉克勒斯形象犍陀羅, 四至五世紀。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARAScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝，四至六世紀。科學檢測報告：米蘭Arcadia，Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告，編號116L，117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 品相：狀況極佳，與年齡相稱。一些磨損和風化、燒製缺陷，一些刻痕和裂縫，有清漆的殘留。彩繪保存極好。總體而言，與這座雕塑的年代相符，沒有明顯的維修或修飾，有取樣鑽孔。 尺寸：59 x 81 厘米 (不含底座)，高63 厘米 (含底座)有底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTYChina, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國，六世紀。立佛左右臂貼身，從肘部起殘缺，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：義大利私人舊藏，1971年購於香港Wing Tat Hong 藝廊；貝加莫Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。品相：狀況良好，與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸：高92 厘米 (不含底座)，總101.5 厘米 現代金屬底座。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTYPublished: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

Pietro Bazzanti (Italian, 1825-1895). Marble sculpture titled "Fisher Boy," depicting a young boy in a straw hat holding a freshly caught fish. Signed "P. Bazzanti, Firenze" and titled along the base.Height: 36 in x width: 14 in x depth: 17 in.

Louise Nevelson (Ukrainian/American, 1899-1988). Black plaster abstract sculpture depicting a figure on a marble base, ca. 1935.Exhibitions: Washburn Gallery, New York, "Louise Nevelson: Sculpture and Drawings from the 1930s," March 21 - April 19, 1997.Provenance: Estate of the Artist; Private Florida Collection; Washburn Gallery; Private Massachusetts Collection; Private Minnesota Collection.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items.When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League.Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied.In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant.In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her.She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.Height: 19 1/4 in x width: 15 in x depth: 22 in.

Emily Young (British, born 1951)Purbeck Blue Angel purbeck blue marble64.7 cm. (25 1/2 in.) wideCarved circa 1999Footnotes:ProvenanceWith The Fine Art Society London, where acquired by the present ownerPrivate Collection, U.K.'Britain's greatest living stone sculptor' (Financial Times, 2013)Emily Young was born into a creative family in London, her grandmother was the sculptor Kathleen Scott, a colleague of Auguste Rodin and her uncle Sir Peter Scott started the Wildfowl and Wetlands Trust in 1961. She began her career as a painter, studying at Chelsea School of Art and Central St Martins in London before travelling extensively, but by the 1980s she had started to carve stone, a medium she has since dedicated herself to for the last forty years.Young practices 'free sculpture', where she approaches each block with no pre-conceived ideas or preparatory drawings but rather allows the material to speak and guide the form that emerges. Using the most ancient of mediums, her unique vision is at once contemporary and antique. The monumental heads are Michelangelesque in their organic emergence from the rock, part polished, part rough-hewn, with each example wholly individual as the material itself dictates the final outcome with every fault and vein celebrated rather than concealed. Writing at the period shortly after the present work was carved, Young elaborates on her process:'The looks on the faces of the angels are not planned as such, they arrive and surprise me often with their softness and sadness, and strength and calm. But like all good angels, they have a certain graveness, an objectivity, a touch of the infinite, and a certain compassion.' (Emily Young, Working with Stone, emilyyoung.com, 2003)Young's sculpture is held in many public and private collections around the globe and she has exhibited at prestigious institutions including The Getty, California, the Imperial War Museum and the Victoria and Albert Museum, London.We are grateful to EY Sculpture UK Ltd for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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

Bronze sculpture of Carmel on a marble base, signed E Villanio, H: 25 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Greece Collection of works Blunt, Sir Henry. A Voyage into the Levant, being a brief Relation of a Journey... into Dalmatia, Sclavonia, Bosna, Hungary, Macedonia, Thessaly, Thrace, Rhodes. London: W. Crook, 1671. 8th edition, 12mo, 165. [iii], disbound, a few running headlines slightly trimmed; Society of Dilettanti. Report... appointed by the Society to Superintend the Expedition lately sent by them to Greece and Ionia. London, 1814. 4to, original wrappers, sewn, wrappers detached; House of Commons. Further Papers respecting the Excavations at Budrum and Cnidus. Lond, 1859. Folio, 3 hand-coloured folding plans, contemporary half vellum, some spotting; Falkener, Edward. Daedalus, or the Causes and Principles of the Excellence of Greek Sculpture. London, 1860. 8vo, photographic and hand-coloured engraved plates, original pictorial cloth, neatly rebacked retaining original spine; Comstock, John L. History of the Greek Revolution. New York, 1829. 12mo, 2 folding plates, one torn without loss, one with loss, contemporary calf slightly rubbed, somewhat spotted; Smith, Agnes. Glimpses of Greek Life and Scenery. London, 1884. 8vo, plates, original pictorial cloth gilt;Mahaffy, J.P. Greek Pictures. 1890. 4to, original pictorial cloth; Payne, Humfry and Gerard Mackworth-Young. Archaic Marble Sculptures from the Acropolis. 1950, folio, dust-wrapper;Ferguson, James. The Parthenon. 1883. 4to, original cloth; and various others, later; sold not subject to return Note: Provenance: From the library of the late William St Clair, FBA, FRSL.

A sculptor's pottery maquette of a girl, resting on a marble base, sculpture L. 56cm.

A carved white marble crouching faunItaliancirca 1870 79cm highProvenance - Sotheby’s, 21st November 2000, lot 185 Sculpture

Good antique carved marble sculpture depicting Leda and the Swan, raised on circular plinth, 85cm highProvenance: removed from Basts, GrundisburghPlinth not included, see lot 1235.

Renaissance bronze sculpture of a female bust with scrolls engraved original patina on later marble base, 16th century, 19 cm height

Bronze sculpture of an owl, in Art Deco style, on a marble base, 33 cm high

Classic sculpture of a woman with pitchers, composite on marble base, 77 cm high, 14 kilograms

Bronze sculpture of rider on horseback, sign. E. Drouot (= Edouard Drouot 1859-1945), h. 31 cm. on marble baseBronzen sculptuur van ruiter te paard, ges. E. Drouot (= Edouard Drouot 1859-1945), h. 31 cm. op marmeren voet

Bronze sculpture of bird, BRUNO PAUL (B. 1930), on marble base, h. 150 cm.Bronze sculptuur van vogel zgn. 'Roek', gemonteerd op marmeren sokkel, BRUNO PAUL (geb. 1930), h. 150 cm.

Marble carved sculpture of Venus and Amor, France 19th century, h. 37 cm. (wings broken)Marmeren gestoken sculptuur van Venus en Amor, 19e eeuw, Frankrijk, h. 37 cm. (vleugels afgebroken)