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

Bronze sculpture after Salvador Dali. 21st century. Self-portrait. On black marble base. Dimensions: 42 x 21 x 20 cm. In good condition.

Bronze sculpture on a black marble base. Unclearly signed. Second half of the 20th century. Dimensions: 15 cm. In good condition.

After Bruno Zach (Austrian, 1891-1945). A bronze sculpture of a dancing woman, raised on a black and veined marble base, a7255, 63cm high.

KAMIKO; a small bronze sculpture of a Samurai warrior mounted on an oval marble plinth, height 19cm, stamped to the reverse 'Kamiko'. CONDITION REPORT Overall good condition, no obvious signs of fault, damage or restoration. There is some slight surface wear to the marble base.

An Art Deco patinated spelter sculpture, dancing lady with tambourine, on polished marble base, height 26cm

A Vintage Russian brass St Basils Cathedral building sculpture, on green marble base, signed, height 10cm

Early 20th century Marble sculpture of lady filling water jug. H47cmMissing the tips of four fingers from left hand, but otherwise in good condition with no signs of repair

Wilby Hart, grey marble sculpture, abstract form, W 46cm. H 35cm. on a painted wood pedestal.

BRONZE SCULPTURE, 'The Borghese Gladiator' 19th century Italian, after the original marble held in the Louvre Museum Paris, on black slate base with metal plaque personally inscribed 'with love from your two best girls, Sept 28th 1953', 53cm H x 49cm L.

A set of black marble desk items, comprising an inkwell, 28cm across, a letter rack, a blotter, and a horse sculpture. (4)

Doreen Kern (British, 1931-2021): a limited edition Alistair Maclean bronze bust, signed, numbered '1/8' raised upon marble plinth, 18 by 21 by 45cm high, with plaster maquette bust, a/f, and ephemera, including a signed photograph of Maclean with the sculptor and sculpture, with handwritten dedication 'My love to Doreen Alistair Maclean', 20.2 by 25.5cm, two photographs of both Maclean and Kern posing with the bust individually, two part print sets of Maclean by Godfrey Argent, with related letter from Collins Publishers dated 2nd February 1972, used to prepare the sculpture, a handwritten letter dated 29th March 1985, from Marcelle Maclean passing on her condolences to Kern after the death of her mother, with a polaroid of Marcelle with Kern, and a copy of Jack Webster's biography of Maclean, with signed dedication to Kern, on p. 206-7 there are references to both Marcelle and Kern in relation to the Maclean troubled private life, together with 16 volumes of the author's novels. (1 bust and 4 bags) Provenance - From Doreen Kern's collection and artist's studio (Artist and Sculptor 1931-2021)

A 19th century bronze sculpture of a woman in 18th century dress holding a wheat sheaf and on cylindrical black marble base, height overall 27.5cm.

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 7cm ARR

CONTEMPORARY SCHOOL, TORSO a sculpture in beige marble on a grey marble plinth, 35cm high

A British Museum marble composition replica head of Eros, 20th century, after the 4th century BC Greek sculpture, 22cm high including wood base Good condition with some natural accretion of dust and dirt

Anatole Calmels (1822-1906)King Pedro VWhite marble sculpture Signed and dated 1866 (minor restoration to an epaulet)Height: 40,5 cm Special Notes: NATOLE CÉLESTIN CALMELSAnatole Célestin Calmels, was born on March 26, on the year of 1822 in Paris, and from the year 1858 he developed his artistic activity in the city of Lisbon. As a disciple of one of the most classic statuary of French Romanticism, it was with James Pradier (1790-1852) that he learned to formalize sensuality with a formal allusion to Hellenism and to consider the refinement of execution as a fundamental factor in the honorability of sculpture. From 1837 he attended the École des Beaux-Arts where he was a student of the sculptor François Joseph Bosio (1768-1845) and of the neoclassical painter Merry-Joseph Blondel (1781-1853). In 1839, he took part in the “Prix de Rome”, where he won 2nd place. From the year of 1843 he began to participate in the salons and universal fairs of Paris, which were fundamentals for collecting the results of his work, and the maximum prize he achieved was the 3rd Class gold medal in the year of 1852, with the model in bas-relief Birth of the Virgin to the church of St. Mauritius in Lille. Meanwhile in 1849 he was awarded with an honorable mention by the Bust of Géricault, in 1850-51 with the Denis-Papin Statue for the facade of the Paris Chamber and in 1853 with the Calypso statue commissioned by Emperor Napoleon III for the Tuileries Palace. The fact that he was a disciple of such influential names as Pradier, Bosio and Blondel, based on his artistic dispositions and a persistence in the practice of sculpture, allowed him to move influences with the figures of power. Read the full text, available at: https://veritas.art/en/lot/king-pedro-v-1081921287/ 

A bust of BacchusWhite marble sculptureHeight: 55 cm

A boy with nest with eggsGilt bronze sculpture Marble standHeight: 14,5cm

António Soares dos Reis (1847-1889)"The artist in infancy"Carrara marble sculpture Signed and dated 187770x40x29 cm Special Notes:António Soares dos ReisBorn on 14 October 1847 in the parish of S. Cristóvão de Mafamude in Vila Nova de Gaia, António Soares dos Reis came from a humble family. One day, either because he saw his drawings or small sculptures, or because António had drawn on the whitewashed walls of his house, his neighbor, Diogo de Macedo found him well suited for the Fine Arts. From childhood to the last day of his life, his existence was doomed by sadness and depression. Taciturn, neurasthenic, dejected, all these adjectives are recurrently used to narrate the great sculptor until they revert to an irrefutable truth. Apparently, the reality was a little different and the depression from which he suffered was attributed to him by time and not by the truth. He was a man with some sense of humor (good or bad, that's questionable). He liked to party with friends, sing, play the guitar and games with those closest to him, to make a good joke and he knew how to accept the ones that were about him. There were only two topics he didn't like to talk about: religion and politics. He was a Christian and a Catholic – as he affirmed at the time of his death – but he was almost indifferent to the religious cults, theories and dogmas of the church. He recognized all beliefs and was against anything that restricted or curtailed freedom of conscience and the right of opinion. In political matters, despite having a great and spontaneous aversion to it, he followed the same order of ideas and the same principles of freedom, justice and morality. But life was not just work and in the early 1880s the sculptor fell in love with the young Amélia de Macedo, granddaughter of Diogo de Macedo and the marriage took place on July 15, 1885, just four years before his suicide. In 1888, he left Lisbon – where he had learned that Elisa Leech did not approve of the bust she had made of herself – and returned to Gaia to write a letter to the Porto Academy of Fine Arts, dated July 2, to manifest the intention of leaving the regency of the chair of sculpture. At the beginning of 1889, his illness showed signs of worsening, and he began to suffer from great mental agitation and irritability. Constantly isolated, there is an apparent improvement and on February 15th he meets his friends to present his project for Monumento ao Infante D. Henrique. The next morning, he got up and went to give some touches to the work he was working on at the time, the Busto de Fontes Pereira de Melo for the headquarters of the Porto Commercial Association. Shortly thereafter, his wife heard a bang in the ground-floor room, similar to a detonation, and ran to see what was going on, where she found her husband, standing, cleaning his pistol and justifying that if he had been distracted and had accidentally shot. After that, he went to his office, on one of the walls he wrote “Sou cristão, porém nestas condições a vida para mim é insuportável. Peço perdão a quem ofendi injustamente, mas não perdoo, a quem me fez mal”, and shot himself in the head. Read the full text, available at: https://veritas.art/en/lot/the-artist-in-infancy-1175713547/?chosen=1 

A male figure bustWhite marble sculpture(restoration)Height: 58 cm

An impressive bronze sculpture depicting Laocoön and his sons being killed by serpents. Laocoön was a Trojan priest who warned the Trojans against bringing the wooden horse of the Greeks into their city, by doing so incurred the wrath of the gods who sent sea serpents to kill him and his sons. The original antique marble group stands in the Vatican museum in Rome. Probably late nineteenth century, standing separately upon a mahogany plinth base, apparently unsigned, height 57.5 cm, base 18.5 cm x 37 cm.

§ Jonathan Loxley (British, b.1960), 'Gia Panta', a Portuguese rosa marble sculptureOn black plinthH 42cm. W 47cm.

§ Igor Mitoraj (1944-2014), bronze patinated sculpture, Half study of a man's facesigned, on marble plinthH 14.5cm.

Our Lady of Calvary, ivory sculpture, silver crown, Indo-Portuguese, 17th C. (1st half), minor faults at the extremities, minor fault and small restoration on the inside, marble base and non-original silver crown, unmarked silver, pursuant to Decreto-Lei no. 120/2017, of 15 September - art. 2, paragraph 2, letter c), Dim. - (escultura) 22 cm

Female torso, bronze sculpture, marble base, signed LLAURADÓ (probably Martí Llauradó i Mariscot 1903-1957), marked V. GIMENO = FUN, Dim. - 64,5 cm

Artist: Fernando Botero [imputee] (Colombian, b.1932). Title: "Toro". Medium: Bronze sculpture with very dark brown patina. Date: Composed 1992. Lot Note(s): Inscribed "F. Botero" and dated "1992". Edition of six. Fine, quality casting. Fine condition, the polished marble plinth with the expected wear and scattered small losses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. Probably cast from the original mould. Dimensions of sculpture: 7 5/8" height x 11 1/4" width x 6 5/16" depth (185mm x 285mm x 62mm). Weight: 16.53 lbs. (7.5 kg). Image copyright © Fernando Botero. [25144-12-1600]

Artist: Fernando Botero [imputee] (Colombian, b.1932). Title: "Pajaro (Paloma Grande)". Medium: Bronze scuplture with dark brown patina. Date: Composed 1992. Lot Note(s): Inscribed "F. Botero" in the bronze and dated "1992". Edition of six. Fine, quality casting. Very good condition, the polished marble plinth with the expected wear and scattered small losses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. The sculpture possibly cast from the original mold. Dimensions of sculpture: 6 1/2" height x 5 3/16" width x 7 5/8" depth (165mm x 133mm x 190mm). Weight: 9.9 lbs. (4.5 kg). Image copyright © Fernando Botero. [25132-12-800]

Artist: Francisco Zuniga [d'apres] (Costa Rican/Mexican, 1913 - 1998). Title: "Mujer Desnuda Sentada II". Medium: Bronze sculpture with turquoise patina. Date: Composed 1971. Lot Note(s): Inscribed "Zuniga" and dated "1971" in the bronze. Edition of 10. Fine, quality casting. Very good condition, the polished marble plinth with the expected wear and scattered small losses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. Dimensions of sculpture: 8 1/4" height x 6 3/4" width x 6 5/16" depth (210mm x 172mm x 161mm). Weight: 11 lbs. (5 kg). [24928-12-800]

Artist: Fernando Botero [imputee] (Colombian, b.1932). Title: "La Mano I". Medium: Bronze sculpture with dark brown patina. Date: Composed 1987. Lot Note(s): Inscribed "F. Botero" and dated "1987". Edition of six. Fine, quality casting. Fine condition, the polished marble plinth with the expected wear and scattered small losses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. A larger (19" height) casting of this sculpture was offered with pre-sale estimates of $8,000/10,000 at Ro Gallery on January 20th, 2011, going unsold. Our example probably cast from the original mould. Dimensions of sculpture: 8 5/8" height x 5 9/16" width x 3 3/8" depth (213mm x 141mm x 82mm). Weight: 8.8 lbs. (4 kg). Image copyright © Fernando Botero. [25124-12-1000]

Artist: Fernando Botero [imputee] (Colombian, b.1932). Title: "Gato". Medium: Bronze sculpture with dark brown patina. Date: Composed 1992. Lot Note(s): Inscribed "F. Botero" in the bronze and dated "1992". Edition of six?. Fine, quality casting. Very good condition, the polished marble plinth with the expected wear and scattered small losses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. The sculpture possibly cast from the original mold. Dimensions of sculpture: 4 7/8" height x 13 1/4" width x 5" depth (125mm x 316mm x 127mm). Weight: 14.3 lbs. (6.5 kg). Image copyright © Fernando Botero. [28888-12-1000]

Artist: Fernando Botero [imputee] (Colombian, b.1932). Title: "Caballo Grande". Medium: Bronze sculpture with very dark brown patina. Date: Composed 1992. Lot Note(s): Inscribed "F. Botero" and dated "1992". Edition unknown, presumed very small. Fine, quality casting. Very good to fine condition; the polished marble plinth with the expected wear and scattered small loses to the edges. Comment(s): Please note that this lot ships in-house. Kindly contact shipping@stanfordauctioneers.com for details. Possibly cast from the original mold. Dimensions of sculpture: 11 7/8" height x 6 1/4" width x 10 7/8" depth (302mm x 160mm x 275mm). Weight: 25.3 lbs. (11.5 kg). Image copyright © Fernando Botero. [28890-12-2000]

Laconic bronze sculpture “Chinese Merchant” on a marble base.* Dimensions: diameter-9.5 cm, height H-20 cm.* Country of origin: China* Period: early XX century* Bronze, stone. KEYWORDS: BRONZE; SCULPTURE; CHINESE MERCHANT; HORSE; MARBLE; 20TH CENTURY.

Jean Fenton (20th/21st century) Reclining female figure, monogrammed, ceramic sculpture set on a marble base.height 33cm (13in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The sculpture is in very good, original condition with no obvious faults to report.

Samuel Tonkiss (British 1909-1992) A portrait bust of Laurence Stephen Lowry, signed and numbered 19/36 from a limited edition produced in 1975, with Morris Singer Foundry stamp, bronze sculpture on marble base.overall height 33cm.Footnote:* Samuel Tonkiss was born in Shropshire and moved to Todmorden in West Yorkshire, where he worked as a journalist. In 1959 he began to sculpt a series of portrait busts, some of which were cast in small editions. An earlier head of Lowry sculpted in 1971 is in the National Portrait Gallery, London.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The bronze is in very good, original condition with no obvious faults to report. The marble base has some minor knocks and losses.

Bronze sculpture of a tall, slender figure with its right arm raised. Illegibly signed and marked 5/20 © along the right leg. The sculpture rests on a marble base.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.

Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com

•SOPHIE DICKENS (BRITISH B. 1966) A STYLISED BRONZE SCULPTURE OF A REARING HORSE AND FIGURE initialled SD and numbered 3/9, upon black marble base, 41cm long x 47cm high Condition Report: no issues, could just do with a light clean as dusty in places.

After Salvador DaliVenus de Milo with drawers, bronze sculpture on veined marble base, 39cm high

After the antique, a carved marble figure of Diana of Gabill19th centuryHer right arm raised (now lacking hand) adorned in drapery standing on a plinth base, together with a stone column plinth base, weathered, 44cm wide, 36cm deep, 143 cm high (17in wide, 14in deep, 56in high) the plinth bae: 38.5cm high (2)Footnotes:Widely believed to represent the Goddess Artemis and traditionally attributed to the sculptor Praxiteles. The sculpture on which the present lot is modelled was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii and immediately became part of the Borghese collection. It is now housed in the Louvre.This lot is subject to the following lot symbols: TPTP 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

A Renaissance fragmentary marble figure of a Classical maidenNorthern France or Flemish, mid-16th century Modelled standing and classical draped in fabric, on an oval base and together with a later display plinth, 43cm wide, 29cm deep, 101cm high (17in wide, 11.5in deep, 40in high) Footnotes:Following the Renaissance convention, it is possible that the present fragmentary sculpture once represented one of three theological virtues (Faith, Hope and Charity) endorsed by the church during the Middle Ages. The elegantly carved folded drapery has been expertly executed and appears to move against the figure's skin as if invigorated by an unseen breeze. The present fragment recalls the work of the Flemish sculptor and architect Jacques Du Broeucq (c. 1500-1584). Note, for example Du Broeucq's stately virtues carved for Sainte-Waudru in Mons, Belgium. These Du Broeucq sculptures are executed in straightforward poses, enlivened by drapery that clings to the torso but sweeps around the legs in broader swaths. Another figure whose carving is worth comparison to the drapery of the present work is that of Charity, attributed to the circle of Jacques du Broeucq and preserved in the collection of The Metropolitan Museum of Art, New York (accession number: 65.110).This lot is subject to the following lot symbols: TPTP 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

*Sydney Harpley (1927-1992) bronze sculpture - Girl Combing Her Hair, signed and numbered A/P, on marble plinth, an artist's proof from an edition of 12. NB: This is the maquette for a life size sculpture, of an edition of 3, which Harpley exhibited at the Royal Academy Summer Exhibition on 1957, No. 1366Provenance: Chris Beetles Ltd., London, 26th May 2016Condition report: 15.3cm high. In good order with no damage.

Bernard Winskill (d. 1980) large bronze sculpture of Arkle with Pat Taaffe up, 50cm long, raised on black marble plinth, together with a certificate from the artist confirming purchase in 1966 for £250

Hahakitosol Somchai, Bronze Sculpture of a stylised Bird in Flight raised on a marble plinth, signed Somchai 21, 35cms high, 45cms wing span

Victorian bronze sculpture of a child reading, on marble base. Height 31cm.Condition Report: Good condition overall, with some discolouration. Some chipping to edges of marble base.

Contemporary bronze sculpture, female nude. Engraved indistinctly with artist's signature to lower edge. Marble base. Height 24cm.

D. R. RUSHING "POLO PLAYER" , a small bronze sculpture of a polo player on horseback ready to strike the ball, on a marble plinth, modern. 10.5 ins high

A bronze figure group modelled by J. Osborne, The National Horseracing Museum 'Becher's Brook' The Grand National 150th Anniversary Sculpture 1839-1989, on a marble base, 23cmH (AF)

JENNINE PARKER; a Continental limited edition bronze sculpture, 'Peace', 190/195, raised on marble plinth base, height 43cm, with certificate and original box. (D)Additional InformationMinor wear but good condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Marble child sculpture, 28cm high.

A bronze sculpture of a horse and jockey after Pierre Jules Mene, on a black marble base. CONDITION REPORT: Base cracked.

A 20th century bronze sculpture of a horse and jockey after Bonheur, on a black marble base.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), GIRL IN A BATH bronze sculpture on a marble and wood plinth, titled and dated 1928 in the mount 22cm x 49cm including plinth.

1966: 1916 Rising commemoration sculpture of 'The Dying Cúchulainn'. A bronzed sculpture after Oliver Sheppard on Connemara marble plinth. Reproduced under licence from The Commissioner of Public Works. With 4pp. booklet attached. 9" (23cm) high.

ATTRIBUTED TO BENEDETTO BOSCHETTI (ITALIAN, 1820-1870), AN MODEL OF A ROMAN FLUTED SARCOPHAGUS MID 19TH CENTURY Depicted with a pair of lions, in Rosso Antico marble 12cm high, 24cm wide Provenance: The Simon Neal Collection Ancient Roman sarcophagi were popular objects among Grand Tourists and so small-scale models of them, carved in coloured marbles, were made by artisans in Rome to cater for such a demand. This exquisite model of an ancient Roman sarcophagus is decorated with fluted carving and flanked by a pair of pacing lions with their paws resting on spheres - no doubt inspired by the ancient sculpture known as 'The Medici Lion', which resided at the Villa Medici in Rome in the 16th century, before being moved to the Loggia dei Lanzi in Florence in the 18th century. Since the 2nd century A.D., marble sarcophagi were widely used throughout the Roman empire for burials of distinguished people. The iconography depicted on such sarcophagi were generally the same as those chosen to decorate homes and public spaces, but they acquired different meanings when viewed in a funerary context. Scholars are divided on whether sarcophagi images are highly symbolic of Roman religious beliefs and conceptions about death and the afterlife or reflect a love of classical culture that was intended to elevate the status of the deceased or were simply conventional decorative motifs. Condition Report: Some old chips and 'nibbles' to edges. Some glue residue visible between the feet and the underside. Some filler applied in two places to the underside - see image.Chips of loss to one of the paw feet and base beneath - see images. Another paw foot with an old glued repair to toes and base beneath - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A 19th Century Marble Sculpture In The Style of A 17th Century Gentleman. Height 31cm

Full title: Italian school, after the antique: Bust of the Apollo Belvedere, white marble, ca. 1800Description: H 65 cm The Apollo Belvedere in the Vatican ranks among the most celebrated statues from antiquity. Today thought to be a Hadrianic copy, made in c. 120-140 CE, of a 4th-century BCE Greek bronze original, the statue was excavated in Rome in 1489. The marble was recorded in 1509 in the garden of S. Pietro in Vincoli, which was then under the custodianship of Cardinal Giuliano della Rovere, who became Pope Julius II (1503-1513). By 1511, the Apollo had been installed in the Cortile del Belvedere of the Vatican, and thereafter received a vast amount of attention from artists and commentators alike. The most influential of these was J.J. Winckelmann, who dedicated pages to the Apollo's beauty and hailed it as the embodiment of antique ideals. One of the most amusing descriptions of the Apollo was made by the great American painter Benjamin West. Upon visiting the Eternal City in the summer of 1760, he encountered considerable snobbery from the native populous who mocked him for a perceived lack of sophistication. Anxious to see the impression of this classical exemplar on West's supposedly uncultivated mind, they opened up the doors of the Belvedere to reveal the Apollo, only to be shocked when the painter dryly remarked, 'My God, how like it is to a young Mohawk warrior' (Haskell and Penny, op. cit., p. 150). The statue's fame was further enhanced after it was ceded to Napoleon under the terms of the Treaty of Tolentino in 1797, arriving in Paris in a garlanded case in July 1798; it was returned to Rome in January 1816. The Apollo continued to fascinate Grand Tourists through the 19th century (link). Ref.: - A very similar but smaller sculpture sold at Sotheby's London, 5 December 2020, Lot 59 (GBP 10.080, link).

Full title: Battelly (19th/20th C.): Bust of a young maiden, marbleDescription: H 53,2 cm With a later signature referring to Rafaello Battelli, the famous Italian sculptor active at the end of the 19th and the beginning of the 20th C. Compare for example this sculpture with a Diana bust, sold at New Orleans Auctions (27th of July 2019, lot 113; link).

Doug Hyde (1972-), 'The Smile', a large oval cast and patinated bronze sculpture of a smiling head, with banded neck support raised on rectangular black marble plinth base, limited edition no. 94/495, with certificate of authenticity, 28cm high

Rolf Harris (1931-), 'Intuition', a bronze sculpture of two hands (modelled on his daughter Bindi's hand, recast and placed at an angle), limited edition no. 88/595, raised on black marble plinth, signed by the artist, with certificate of authenticity and original box, 29cm high

Paul Horton (contemporary), 'Love Will Find A Way', cast bronze sculpture of a seated dog with a red flower in it's mouth and bindle at his feet, raised on shaped black marble plinth base, signed, limited edition no. 14/75, with certificate of authenticity, 15cm high