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PLEASE NOTE; THIS PIECE IS NOTED AS DAMAGED AND THE ESTIMATE HAS BEEN REVISED ACCORDINGLY  A large and heavy carved white marble sculpture of the Three Graces; 19th century, the figures holding hands and with a garland of flowers above the head of the central figure with her head turned to sinister, all dressed in long flowing robes and with semi-clad torsos, each with well defined facial details and hair tied back and standing on tiptoes on a rectangular marble base, the marble sculpture is coated in a waxy coloured dirt that could in our opinion, be removed when cleaned professionally (60cm highest x 36cm widest x 15.5cm deepest) The piece has come from the recent Country House clearance. It is quite dirty and discoloured and a lot is coming off with rubbing - the Auctioneer reports that a good professional clean would probably transform the colouration of the piece. The piece has been cracked and repaired right through the width of the plinth base running from the left-hand foot of the middle Grace back past the upright to behind the right foot of the left-hand Grace, crack and repair also showing to the underside and some further restoration is prevalent to the feet where it has been broken through and restored etc. (see images); the heads, arms, upper part etc. look good on the whole (see images)

Bronzefigur der liegenden AriadneHöhe: 34 cm. Länge: 51 cm. Tiefe: 22 cm. Frankreich, 18./ 19. Jahrhundert.Bronzeguss, schwarze Lackpatina, auf grauer Gußstein-Sockelplatte über Spindelfüßen, mit umlaufendem vergoldetem Ornamenfries. Die Frauenfigur der griechischen Mythologie liegt auch einem Kissenlager mit erhöhtem Polster, die Beine übereinandergelegt, den Kopf in die Hand gestützt, den rechten Arm über den Kopf gelegt. Ariadne war der Sage nach die Tochter des kretischen Königs Minos, die Perseus half, den Minotauros zu besiegen. Nach dem Schriftsteller Hesiod wurde sie am Strand der Insel Naxos verlassen und schlafend aufgefunden. Dieser Aspekt wurde schon in der griechischen Bildwelt thematisiert. Die Figur ist eine verkleinerte Kopie der römischen Marmorfigur, die sich in den Vatikanischen Museen befindet. Sie wurde von Papst Julius II 1512 für den Cortile delle Statue im Belvedere erworben. Die römische Skulptur geht auf ein hellenistisches Original zurück, geschaffen in der Pergamon-Bildhauerschule des 2. Jahrhunderts v. Chr. A.R. (12718114) (11)Bronze sculpture of reclining AriadneHeight: 34 cm. Length: 51 cm. Depth: 22 cm.France, 18th/ 19th century.Bronze casting with black lacquer patina and grey cast stone base plate on spindle feet with revolving gilt ornamental frieze. The sculpture is a smaller copy after a Roman marble sculpture held at The Vatican Museums.

Lebensgroße Marmorbüste eines antiken LaureatusHöhe: 70 cm. Gesamthöhe mit modernem Sockel: 91 cm. Stil und Ausführung lassen die lebensgroße Büste als eine Arbeit des 17. Jahrhunderts sehen.Der jugendliche Kopf mit krausem Haar ist mit einem Lorbeerkranz bedeckt, was darauf hinweist, dass hier ein junger Dichter oder Künstler gemeint ist. In antiker Tradition ist über dem Hemd mit gefälteltem Kragen eine Toga gelegt. Das Gesicht ausdrucksvoll, die gesamte Bildhauerarbeit von guter Qualität. (1270783) (11)Life-size marble bust of an ancient LaureateHeight: 70 cm. Total height incl. modern base: 91 cm.Style and execution of this life-size sculpture suggest a 17th century artist.

Bertel Thorvaldsen,1770 – 1844, zug.ENGEL MIT TAUFBECKEN Höhe: 132 cm.Breite: 74 cm.Tiefe: 125 cm. Dänemark, um 1830.Auf flacher rechteckiger Basis die kniende Figur eines Engels mit gespreizten Flügeln und einer Muschelschale in seiner Hand. Über den langen über das anliegende Gewand fallenden Haaren ein Blütenkranz. Diese sehr wichtige Bleistatue entstand im Vorfeld für die „Agenuouille Angel“, die Bertel Thorvaldsen als Taufbecken der Vor Frue Kirche (Frauenkirche) in Kopenhagen anfertigte. Nach dem englischen Bombenangriff von 1807, bei dem die alte gotische Kirche Vor Frue zerstört wurde, baute der Architekt C.F. Hansen die Kirche wieder auf. Thorvaldsen kehrte 1819 aus Rom zurück und erhielt den Auftrag für ein ganzes Skulpturenensemble, darunter eine Reihe von Aposteln, ein Johannes der Täufer und das Taufbecken, das in der neuen Kirche Platz fand. Bereits 1823 began Thorvaldsen das Projekt, und bereits hier entstand ein Engel, eine Muschel haltend. Unsere hier in Blei erhaltene Ausführung wurde jedoch vermutlich einige Jahre später von Thorvaldsen geschaffen. Unsere Figur ist gut mit der Vorzeichnung zu vergleichen, welche sich im Thorvaldsen Museum in Kopenhagen befindet. Minimal besch.Anmerkung 1: Vergleichbar Große Engelsfigur, Marmor, 1827-1833, Kopenhagen, Frauenkirche. Anmerkung 2: Eine Seltenheit auf dem Kunstmarkt sind die begehrten Skulpturen von Bertel Thorvaldsen, der bereits zu Lebzeiten von seinen Zeitgenossen hoch gerühmt wurden. In die Zeit des Schaffens der hier angebotenen Figur fällt zum Beispiel auch der Auftrag eines Jason, den Thomas Hope in Marmor bestellte und der 1828 nach England geschickt wurde. Auch der Vatikan wurde in dieser Zeit auf den Protestanten aufmerksam und so wurde er 1823 mit dem Grabmonument für Pius VII betraut, das 1830 in der Cappella Clementina des Petersdoms aufgestellt wurde und zu den wichtigsten Arbeiten des Dänen zählt. Literatur: Vgl. Ausstellungskatalog: Bertel Thorvaldsen, 1770-1844, Scultore danese a Roma, Rom 1989. Vorbereitende Zeichnung im Thorvaldsen Museum, Kopenhagen, Inv.Nr. 270. (12518112) (13)Bertel Thorvaldsen,1770 – 1844, attributedANGEL WITH BAPTISMAL FONTHeight: 132 cm.Width: 74 cm.Depth: 125 cm.Denmark, ca. 1830.Figure of an angel with spread out wings and holding a shell-shaped bowl and kneeling on a flat base. The angel is shown with long hair falling down the close-fitting garment and adorned with a floral wreath. This important lead sculpture was created for the Kneeling Angel, which Thorvaldsen designed for the Church of our Lady in Copenhagen as a baptismal font. Thorvaldsen returned from Rome in 1819 and was commissioned to create an ensemble of sculptures. He commenced the project in 1823 and created an angel holding a shell at the time. However, Thorvaldsen created the lead version on offer for sale in this lot maybe several years later. It compares very well with a preliminary sketch held at the Thorvaldsen Museum in Copenhagen. With minimal damage.Notes:Comparative example: Large sculpture of an angel, marble, 1827-1833, Copenhagen, The Church of our Lady.Literature:Compare Bertel Thorvaldsen, 1770-1844, Scultore danese a Roma, exhibition catalogue, Rome 1989.Compare Preliminary sketch, Thorvaldsen Museum, Copenhagen, inv. no. 270.

Antonio Canova, 1757 Possagno – 1822 Venedig, nachPAULINE BONAPARTE ALS VENUS VICTRIX72 x 112 x 40 cm. Italien, 19. Jahrhundert.In weißem Carrara-Marmor vollrund gearbeitet. Auf gedrückten Kugelfüßen in Bronze die Skulptur, ein antikisierendes Ruhebett mit der darauf ruhenden Lieblingsschwester Napoleons, Pauline Bonaparte (1780-1825) darstellend. Sie heiratete 1803 Camillo Borghese und saß Modell für Canovas Skulptur, die sich heute in der Villa Borghese in Rom befindet. (1271377) (13)Antonio Canova, 1757 Possagno – 1822 Venice, afterPAULINE BONAPARTE AS VENUS VICTRIX 72 x 112 x 40 cm.Italy, 19th century.Carved three-dimensionally in Carrara marble. The sculpture depicts Napoleon´s favourite sister Pauline Bonaparte (1780-1825), reclining on a lounger supported by compressed bronze ball feet. She married Camillo Borghese in 1803 and posed for Canova´s sculpture, which is today held at Galleria Borghese in Rome.

Girolamo Campagna, 1549 – 1625, nach VENUS UND ADONIS Bronzeguss, dunkel patiniert. Gesamthöhe: 55 bzw. 55,5 cm. Höhe ohne Sockel: 51 bzw. 49,5 cm. Auf gekehltem schwarzem Marmorsockel.Jeweils in Bronze gegossen und als Gegenstücke gearbeitet, die nach Girolamo Campagna gestalteten Venus mit dem Amorknaben und Adonis mit seinem Hund oder Meleaga und Atalanta. Venus hier einen fragmentarisch vorhandenen Pfeil haltend. Ein ähnliches Paar Skulpturen ebenfalls als nach Girolamo Campagna befindet sich im Museo Nazionale del Palazzo di Venezia, Inv.Nr. PV 09316-17.Literatur: Vgl. L. Pollak, Raccolta Alfredo Barsanti (Trecento-Settecento), Sammlungskatalog, Bergamo 1922, Nr. 89-90, S. 128-129. Vgl. A. Santangelo, Museo di Palazzo Venezia. Catalogo delle sculture, Rom, 1954, S. 45. Vgl. C. Avery, Giambologna: an exhibition of sculpture by the master and his followers, from the collection of Michael Hall, New York, 1998, Nr. 114, S. 186-187. (1261926) (3) (13)Girolamo Campagna1549 - 1625, afterVENUS AND ADONIS Bronze casting with dark patina. Total height: 55 and 55.5 cm. Height excl. base: 51 and 49.5 cm.On moulded black marble base. A similar pair of sculptures also listed as after Girolamo Campagna is held at the Museo Nazionale del Palazzo di Venezia, inv. no. PV 09316-17.Literature:Compare L. Pollak, Raccolta Alfredo Barsanti. Bronzi Italiani (Trecento-Settecento), collection catalogue, Bergamo 1922, nos. 89-90, pp. 128-129.Compare A. Santangelo, Catalogo delle sculture: Museo di Palazzo Venezia, Rome, 1954, p. 45. Compare C. Avery, Giambologna: an Exhibition of Sculpture by the Master and his Followers, from the Collection of Michael Hall, New York, 1998, no. 114, pp. 186-187.

Sir George James Frampton (British, 1860-1928): A patinated bronze figure of 'Peter Pan'the figure originally conceived 1911, this reduction edition dated 1913the young boy playfully blowing his pipe, the base signed with GF monogram and dated 1913 to one side, the top edge with inscribed monogram PP, raised on a stepped rectangular green veined marble plinth, the figure 48cm high, 59cm high overall including plinth baseFootnotes:ProvenanceProperty of a private UK family collection since the late 1940's.A leading sculptor of his day, Frampton was a central figure of the New School of sculpture but is perhaps today most famous for his depiction of Peter Pan, J. M. Barrie's 'boy that never grew up' and fantastical storybook hero of Edwardian children's literature. Derived from the life size plaster of Peter Pan exhibited by Frampton at The Royal Academy in May 1911, it was then cast in bronze and erected on behalf of the 'anonymous donor' J. M. Barrie in Kensington Gardens in May of the following year. The statue was placed at Barrie's request on the spot in Kensington Gardens where the little boy appears nightly in his first book 'Little White Bird' dating from 1901. The figure of Peter was supposedly modelled on a family friend of Barrie's, Michael Llewellyn-Davies who was one of the five brothers who inspired the original stories. Barrie is known to have sent Frampton photographs of Michael dressed as Peter Pan from which to work but it is now thought more likely that Frampton actually modelled his Peter on another boy, possibly James W. Shaw or William A. Harwood.The statue was first seen publicly to great acclaim on the 1st May 1912 with no advance publicity after Barrie placed an advert in The Times stating:'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning. Down by the little bay on the south-western side of the tail of the Serpentine they will find a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived'The statue depicts Peter standing in exactly the same pose as Frampton's original figure first shown in 1911 but with the addition of fairies, rabbits, mice and squirrels to the more elaborate naturalistic base. Much admired, it quickly become a favourite landmark for many adults and children, and is often considered to be one of the most popular public statues in London. Other life-size versions of the statue were later erected in Sefton Park, Liverpool, Canada, Brussels, Australia and New Jersey. It was the obvious widespread popular appeal of the statue that subsequently led Frampton to produce limited edition reductions of the main figure of Peter and the present lot is an early example of one these reductions produced between 1913 and 1925.SFor further information on this lot please visit Bonhams.com

Emma Marie Cadwallader-Guild (1843-1911) United States born in Zanesville, Ohio in 1843. A large bronze bust of Peter Brotherhood (Peterborough) signed "Emma Cadwallader-Guild 1887" in green patination fair condition with minor scratches 66cm high, presented on a four gilt pillar pedestal stand 91 cm high. Cadwallader-Guild was an self taught American sculpture by 1875, she exhibited a sketch in plaster at the Women's Pavilion of the Philadelphia Centennial Exhibition. In the mid-1880s she moved to the UK, and is thought thereafter to have lived chiefly in Europe, only returning to the US to fulfill portrait commissions. Her preferred media were marble, granite and bronze. Cadwallader-Guild's known portrait commissions include G.F. Watts, President Lincoln, President McKinley and Andrew Carnegie. Between 1885-98 she exhibited portraits and ideal works at the Royal Academy in London.

PUCKEY, THOM1948 Bexleyheath/LondonTitel: L'Arret de Mort.Datierung: 2007. Technik: Marmor ('White P'). Maße: 80 x 75 x 75cm. Die Skulptur ist auf der offiziellen Internetseite des Künstlers aufgeführt (www.thompuckey.com).Provenienz:- Aschenbach & Hofland Galleries, AmsterdamAusstellungen:- Stedelijk Museum, s'Hertogenbosch 2013/14Thom Puckey beginnt seine Künstlerkarriere bereits in den 70er Jahren im Bereich der Perfomance-Kunst. Seine Performances lösen in Puckey eine anhaltende Faszination für den weiblichen Körper aus, welche er bis heute auf bildhauerischem Wege untersucht. Dabei geht Puckey überaus akribisch vor. So sind es stets Live-Modelle mit denen er in mühevoller Kleinstarbeit die Posen für seine späteren skulpturalen Werke erarbeitet. Aus vielen verschiedenen Winkeln und Perspektiven werden Fotos angefertigt, welche im späteren Schaffensprozess als Hilfsmittel für den Künstler dienen. Die Materialwahl steht nicht selten in Kontrast zu dem Gezeigten. So verwendet Puckey Carrara Marmor, ein Material, dass sich besonders bei den meisterhaften Bildhauern vergangener Jahrhunderte allergrößter Beliebtheit erfreute. Durch die Materialität erschafft der Künstler hier ein Spannungsfeld, denn die bildhauerische Arbeit selbst hat nur wenig gemein mit den iCOLlisierten Marmorskulpturen die wir aus der Antike kennen. Neben den ungewöhnlichen, manchmal sogar aggressiven Körperposen, inkludiert Puckey häufig auch Waffen als destruktive Elemente in seine Werke. Erläuterungen zum KatalogThom Puckey Großbritannien Zeitgenössische Kunst Objekte 2000er Frau Skulptur Marmor Figur / Figuren PUCKEY, THOM1949 Bexleyheath/LondonTitle: L'Arret de Mort. Date: 2007. Technique: Marble ('White P'). Measurement: 80 x 75 x 75cm. The sculpture is listed on the artist's official website (www.thompuckey.com).Provenance:- Aschenbach & Hofland Galleries, AmsterdamExhibitions:- Stedelijk Museum, s'Hertogenbosch 2013/14. Explanations to the Catalogue

A bronze patinated sculpture of a racehorse, modelled standing saddled, set to a green marble plinth, 26cm high overall

BRONZE SCULPTURE. A bronze sculpture of a ballerina on grey marble plinth. Unsigned. Max. height 42cm.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.  

A marble sculpture, early 20th century, in the form of a prowling lioness, with traces of an earlier plaque to the base, 42cm wide, 18cm deep, 32cm highCondition report: Weathered surface. Some minor chips occurring.

Reiterfigur, Miniatur der berühmten Statue Colleonis in Venedig Bronzeguss, leicht patiniert. Colleoni zu Pferd, nach links blickend, in Feldharnisch "a la antiqua" und mit einem Stab in der rechten Hand. Auf schön profiliertem, dunkelgrünem Marmorsockel. Höhe 22 cm, mit Sockel 27 cm.Das Reiterdenkmal von Bartolomeo Colleoni, das sich neben der Scuola Grande di San Marco befindet, wurde auf Wunsch des berühmten Söldnerführers vor seinem Tod im Jahr 1475 errichtet. Colleoni, der wegen seines Militärdienstes für die Republik auf Lebenszeit zum Generalkapitän ernannt worden war, führte die venezianischen Streitkräfte vier Jahrzehnte lang. Dieses Denkmal gehört zu den bekanntesten Werken von Andrea del Verrocchio, einem florentinischen Bildhauer und Maler und Lehrer da Vincis.Zustand: IIAn equestrian sculpture, miniature of the famous statue of Colleoni in Venice Cast bronze, slightly patinated. Colleoni on horseback, facing left, in field armour "a la antiqua" and with a staff in his right hand. On a beautifully profiled, dark green marble pedestal. Height 22 cm, with pedestal 27 cm.The Bartolomeo Colleoni equestrian statue, located beside the Scuola Grande di San Marco, was erected in fulfillment of a request made by the condotierro before his death in 1475. Colleoni, appointed lifelong captain-general for his military service to the republic, led Venetian forces successfully four decades long. This monument is among the best-known works of Andrea del Verrocchio, a Florentine sculptor and painter, and da Vinci's teacher.Condition: II

Artist: Leonora Carrington [imputee] (British/Mexican, 1917-2011). Title: "Cocodrilos Sueños II". Medium: Bronze sculpture with turquoise patina. Date: Composed c1990. Lot Note(s): Inscribed "Leonora Carrington" lower right. Small edition?. Fine, quality casting. Very good to 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 mold. Dimensions of sculpture: 12 9/16" height x 2 7/8" width x 21 1/4" depth (320mm x 75mm x 540mm). Weight: 22lbs. (10 kg.). [30262-12-2400]

Artist: Leonora Carrington [imputee] (British/Mexican, 1917-2011). Title: "La Vieja Magdalena". Medium: Bronze sculpture with dark green/dark tan patina. Date: Composed 1988. Lot Note(s): Inscribed "Leonora Carrington" in the bronze verso. Edition of 9?. 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. Possibly cast from the original mould. Dimensions of sculpture: 17 7/8" height x 3 15/16" width x 3 5/8" depth (455mm x 100mm x 93mm). Weight: 14.3lbs. (6.5 kg.). Image © The Estate of Leonora Carrington/Artists Rights Society (ARS), New York. [26228-12-1600]

Table clock in marble and gilt and blued bronze. France, 19th century. Sculpture representing Venus. Machinery Paris. 48.5 x 18 x 18 cm.

A Roman marble male torso Circa 1st-2nd Century A.D.Of youthful athletic form, depicted nude, standing with his weight on his right leg, his proper left shoulder slightly raised, with defined pectorals, abdominals, and iliac crests, the rounded buttocks below prominent dorsal muscles emphasized by a sunken depression along the spine, the remnants of an iron tang at the neck, 80cm highFootnotes:ProvenancePrivate collection, Europe, circa 19th Century (based on repair technique)Hruby collection, Vienna, until 1980sPrivate collection, Vienna, 1980s-2020Statues such as the above are of a type known as Polykleitan youths. Best known for his bronze sculptures of young athletic males, such as the Diadumenus and the Doryphoros, Polykleitos was one of the most recognized artists of his time. He was actively creating between 450-415 B.C. and his works survive to this day through marble copies dating to the Imperial Roman period. Statues of victorious athletes were originally commissioned to adorn public spaces in Classical Greece, in celebration of their sporting triumphs, and to uphold them as the epitome of youthful strength and vigour. These sculptures are categorized through their dynamic postures, weight resting on one leg, the opposite shoulder raised creating an 'S'-curve in the torso, finely carved musculature and the juxtaposition of tense and relaxed muscle. For similarly modelled torsos see C. Vermeule, Greek and Roman Sculpture in America, California, 1981, no. 25-26.For further information on this lot please visit Bonhams.com

Enzo Plazzotta (Italian, 1921-1981)Adam partially signed and dated '1967' (on the base)black marble152.4cm high (60in high).UniqueFootnotes:ProvenanceThe Artist, by whom gifted to the present ownerPrivate Collection, U.K.ExhibitedGeneva, Galerie Chedal, November-December 1967London, Grosvenor Gallery, June-July 1970LiteratureCarol Plazotta and Richard O'Conor, Enzo Plazzotta, A Catalogue Raisonné, Trefoil, London, 1986, p.183, cat.no.M4The post-war works of Enzo Plazzotta eschew the period's fashion for modernism, remaining resolutely classical. Italian born and London based, Plazzotta's sculpture will be familiar to many through the several public works still situated on London's streets, such as the lyrical statue of dancer David Wall prominently displayed on Millbank. The present large black marble carving of Adam draws its posing from Michelangelo's famous Sistine Chapel fresco central section The Creation of Adam (c.1508-1512). In both, the figure's nude physique is contrasted against roughhewn rock; his index finger reaches skyward capturing the moment when God confers the divine spark of life upon him.The present work is unique in this material, with two further carvings of the subject executed in White and Statuario marble. Only twenty-two marbles by Plazzotta are recorded, with the examples of Adam being the largest. An edition of nine (plus an artist's edition) were planned to be cast into bronze in 1975, with the present Black marble carving used for the mould, but records suggest only three examples were ever cast. A Bronze cast of Adam is in the collection of the Spencer Museum of Art, Kansas.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

Sir William Reid Dick (British, 1878-1961)A bronze figure of 'The Catapult' or 'Slingshot Boy', the nude figure twisting to the right and aiming his catapult, the naturalistic base signed and dated W. Reid Dick 1911, mounted on veined green marble rectangular plinth base, the figure 63cm. high (24 13/16in high), 67cm high (26 3/8in high) overall.Footnotes:ProvenanceChristie's, Furniture, Works of Art & Carpets, 13th September 2005, lot 263Reid Dick first exhibited his bronze of 'The Catapult' or 'The Slingshot' as it was alternatively known at the Royal Academy in 1911. Measuring 60cm high, this large scale version was first cast by the Italian founder Giovanni Galizia at the Parlanti foundry and is now in the Bradford City Art Gallery, Cartwright Hall. Later reductions in two sizes, 60cm and a smaller and more common 33cm high were cast by Galizia in his own foundry although the model was subsequently cast after the first world war by other foundries. The Victorian Web states that examples of the large size cast measuring 60cm high are rare, citing the Bradford example as being the only known recorded example of this size held in a British public collection. The present bronze measuring 63cm high is however evidently rarer still, as it corresponds in height with an apparently unique bronze figure of the same subject sold in these rooms as lot 297, 4 November 2015, Fine English Furniture, Sculpture & Works of Art, sale 22305, which had direct provenance to the sculptor and family descendants. This figure was marked with the foundry stamp for the Morris Singer Foundry, dating it to no earlier than 1927 when the foundry firms of Morris and Singer merged. In addition the surface of this figure, much like the present lot, had a distinctive Verdigris green tone which apparently was Reid Dick's preferred surface finish for patination when he oversaw the casting and finishing process. As such, it is possible that the present lot, although unmarked, may also date from the same period. LiteratureD. Wardleworth, William Reid Dick, Sculptor, Ashgate, p.160H. Granville Fell, Sir William Reid Dick, KCVO, RA, London, 1945, pl. 2J. Cooper, Nineteenth Century Romantic Bronzes: French, English and American Bronzes 1830-1915, Devon, 1975, pp. 97-8B. Read, J. Barnes and A. Kader, Leighton and his Sculptural Legacy: British sculpture 1875–1930, London, 1996, p.56This 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

KUBACH-WILMSEN, ANNA UND WOLFGANG1936 Appeldorn/1937 Bad MünsterTitel: Bücherturm. Untertitel: 2-teilige Skulptur. Datierung: 1990. Technik: Osttiroler Serpentin Marmor, teilweise poliert. Maße: 93 x 30 x 30cm. Provenienz:- Privatsammlung Österreich. Erläuterungen zum KatalogAnna und Wolfgang Kubach-Wilmsen Deutschland Nachkriegskunst Objekte 1990er Buch Skulptur Stein KUBACH-WILMSEN, ANNA AND WOLFGANG1936 Appeldorn/ /1937 Bad MünsterTitle: Bücherturm. Subtitle: 2-part sculpture. Date: 1990. Technique: East Tirolean serpentine marble, partly polished. Measurement: 93 x 30 x 30cm. Provenance:- Private collection Austria. Explanations to the Catalogue

A FIGURATIVE WHITE MARBLE MINATURE SCULPTUREIndonesia, Tanimbar or Flores Islands, early 20th century. Carved from fine white marble to depict a stylized figure of a man, with pierced eyes, broad nose and simplistic arms, the legs and short loincloth indicated by subtle incisions.Condition: Good condition with some wear and three surface scratches. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 130.1 g Dimensions: Height 12.5 cm

After C M Russell, Bronze Figural Sculpture on marble base, of a man riding a horse, titled "Smokin' Up". Size: 10 1/2 x 5 x 12 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

A Collection of heavy marble sculptures to include bookends, pin dishes, small bud vase and column sculpture [Sculpture height-40cm]

Bronze sculpture of a Sater Bronze sculpture of a Sater on a marble base. Not signed. Bronzen beeld van een Sater op een marmeren sokkel. Niet gesigneerd. H 37 cm

Venus of Milo or Aphrodite of Melos marble sculpture. Een marmeren sculptuur van Venus van Milo of Aphrodite van Melos. H 61 cm from Robert Van Cauwenberghe's studio

Bronze sculpture of an officer and child on a rocky mound and black marble base, signed H. Hnkorocrh (possibly), 1956, 18 cm high

A French late 19th century marble and gilt-metal mounted striking mantle clock, cast with a gilt-bronze style sculpture of a maiden titled 'L'Histoire' after F.Moreau, labelled with a plaque, surmounting an arched garlanded clock case, with ivorine dial and Arabic numerals, on a veined orange marble plinth base applied with pierced gilt metal berried laurel, raised on foliate feet, with key & pendulum, 51 cm high x 34 cm wide x 15 cm deep

A Bulgarian bronze sculpture of a bull carrying a gilt woman on its back, mounted on green marble base, signed Ubo Maxamus, 2002, 9 cm wide

An Art Deco painted bronze sculpture of an archer, on a black marble base72cm highCondition report: The bow is broken just above the hand. No arrow. Otherwise is appears to be complete, but dirty.

Grand Tour School (19th century), a verdigris bronze-patinated terracotta sculpture, Statue of a Wounded Warrior, after the 1st Century AD Roman marble, 31cm high

Valery Koshlyakov (Russian, born 1962)Alexandria signed in Cyrillic, titled and dated '1995-1998' (verso) tempera and acrylic on canvas150 x 150cm (59 1/16 x 59 1/16in).Footnotes:'I work with the pure terrifying category which is inaccessible to man—the tragedy of dying, fading,' - Valery Koshlyakov.Valery Koshlyakov studied at the Grekov Art College in Rostov-on-Don and has become well known for his large-scale paintings of historical monuments, political scenes, and ruins. The present work creates a sense of the passing of time and melancholy, of history fading and the destruction of greatness. He fashions evocative architectural masterpieces, with monumental subjects that in ways cry paradoxically of a failed ideal world. By naming this piece as Alexandria, one cannot but think that the artist might be depicting his own version of the Library of Alexandria. This city named by the Macedonian Alexander the Great, became the capital of knowledge and learning as the library was known to encapsulate all the literature of the civilised world and became a meeting place for all the famous ancient scholars. However, for the viewer, he seems to base the building on a more familiar building, the Parthenon in Athens. To the right is a depiction of a winged Nike that was probably based on the Nike of Samothrace (the Greek goddess of Victory which is displayed at the Louvre). The sculpture was found in the sanctuary at Samothrace and the Nike was an important symbol to the Macedonian kings. The Nike stands out as it is the most detailed aspect of the painting. The sculpture, which is renown in art history for its flowing drapery, is almost three-dimensional in perspective, moving toward the viewer as if alive and floating amongst the rubble below. The broken marble, as if a sketch, in the left-hand corner gives a sense of destruction and desolation, and this is reinforced by the ghostly head in the bottom right corner of the painting. The romanticised artwork reminds one of P. B. Shelley's poem and the great Ozymandias laying shattered 'Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare, The lone and level sands stretch far away.' This romantic and philhellenic painting depicts the ancient world but in numerous dizzy unfinished details. The texture created by the vigorous brushstrokes make this landmark into a half idealised and partly precarious monument in the air. The cloud-like, as if watered down paint, gives an effect of the empty ruins of Alexandria becoming encapsulated in the eerie past, leaving it desolate. Koshlyakov said; 'Here yesterday, gone today. It's an eternal human theme, and the pictures—they are metaphors of this thought, like mourners.'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

A LARGE BRONZE SCULPTURE OF A HORSE'S HEAD ON A MARBLE BASE 58CM HIGH

A BRONZE SCULPTURE OF TWO SALVADOR DALI FIGURES ON A MARBLE BASE H:35CM

A French Art Deco spelter sculpture, lady sitting on a bench, on veined marble base, unsigned, base length 30cm, height 31cm

An Art Deco frosted glass sculpture, lady with a rose, unsigned, on stepped veined black marble base, base width 26.5cm, overall height 26cm

European School (19th century)A white marble sculpture, probably Zeus, Roman Jupiter, with thunderhair and an eagle at his feet. After the classics, 19th century.H. 89 cm.Condition report available onrequest.

A CAST AND GILT GREYHOUND HEAD SCULPTURE on a marble plinth 26 cm high

English, 20th century school, Faux marble sculpture of female torso, on tapering cylindrical base, 23cm highCondition report: Minor blemishes to base

A RARE MARBLE HEAD OF BUDDHANorthern Qi DynastyCarved with a serene and meditative countenance expressed by a pair of downcast eyes, pursed lips and pendulous ears, framed by tight curls densely covering the head, stand.23cm (9in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價北齊 理石雕佛首像Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 1999, no.1.展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，1999年，編號1See a related example illustrated in China: Cultuur Vroeger en Nu, Ghent, 1979, no.292; see also D.Lion-Goldschmidt and J-C.Moreau-Gobard, Chinese Art: Bronze, Jade, Sculpture, Ceramics, Oxford, 1960, pl.118.For further information on this lot please visit Bonhams.com

The mantle clock in marble case, the sculpture stands on a marble base decorated with mirrors. Estimate: € 30 - € 50.

Sculpture of a tiger fighting a snake placed on a marble base. Signed 'RVarnier'. The pendulum and a foot underneath the base are missing.Not tested for function. Estimate: € 40 - € 60.

A bronze sculpture on a marble base, signed "Cl. Jr. Colinet" (middle center).H. 46,5 cm. Estimate: € 80 - € 120.

Tom Lydon (American, B. 1944) "America w/Eagle at Her Side & Sun at Her" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c+4c Official Mail/Flag stamp issued April 6, 1991. Throughout his noteworthy career sculptor Thomas Crawford created many brilliant works of art. Thankfully, many of these important pieces can be enjoyed by enthusiasts today, nearly a century and a half after his death. Visitors in Washington, D.C. revel in his artwork at the U.S. Capitol Building. Crawford created several works for the seat of the nation's government including the Doors to the House and Senate, the massive Statue of Freedom, Statues of Justice and History, and a sculpture titled "Progress of Civilization." The artwork on this artwork is based upon the latter creation. The central theme is America with her Eagle at her side and the sun at her back. The figures of the sculpture were modeled in Crawford's adopted city of Rome in 1854 and carved from marble quarried in Massachusetts. In 1863 the great sculpture was erected on the east front of the Senate Pediment of the Capitol, ironically at a time when America was in the depths of the Civil War and it seemed as if civilization had made little progress. Yet the work has dazzled many through the decades and is no less impressive today. Crawford made other contributions to the world; his son was novelist Francis Marion Crawford, author of the classic Mr. Isaacs (1882). Image Size: 11.5 x 16 in. Overall Size: 14.5 x 20 in. Unframed. (B12977)

ContinentalArt Deco kneeling figural sculpture, circa 1930Green patinated bronze, veined marble base.36cm highFor further information on this lot please visit Bonhams.com

FrenchArt Deco sculpture of two jaguars, circa 1930Patinated art metal, marble, burr-walnut veneer, silvered wood.35 x 53 cmFor further information on this lot please visit Bonhams.com

Marcel Bouraine'Diana', an Art Deco figural sculpture, circa 1925Patinated bronze, on a stepped marble base.33cm highIncised BOURAINE to marble.For further information on this lot please visit Bonhams.com

A large vintage retro late 20th century art studio bronze abstract sculpture. The heavy bronze sculpture of a tapered form raised on a marble / stone base of a rectangular form. 

Mahmoud Moussa (Egypt, 1913-2003)Reclining Nude terracotta sculptureexecuted in 1953Width: 50cmFootnotes:A MAGNIFICENT RECLINING NUDE BY MAHMOUD MOUSSA, WINNER OF THE FIRST PRIZE OF THE ALEXANDRIA BIENNALE, 1954Provenance:Property from the artists estate, AlexandriaExhibited: 1st Alexandria Biennial of Mediterranean Countries at the Museum of Fine Arts: First Prize'The nakedness of woman is the work of God' - William BlakeSensual, voluptuous, and expressive, the present sculpture is one of Mahmoud Moussa's most instantly recognisable and representative compositions, and most notably won the first prize in the inaugural Alexandria Biennale in 1954. The reclining female nude was a popular subject in classical painting and sculpture. The odalisque – originally meaning a slave in a Turkish harem – was often placed in an exotic setting, with suggestions of sexual submissiveness. In the twentieth century, artists were able to present sexuality more frankly, without the orientalist trappings of their predecessors. At the same time, their depiction of sensual attraction was complicated by Freud's uncovering of repressed subconscious drives with which modern artists, in particular, were fascinated.In this composition, Moussa invites comparison with the grand tradition of the nude as exemplified by Giorgione, Titian, Diego Velazquez, Francisco Goya or Édouard Manet. It is perhaps with the frank come-hither sexuality of Goya's Naked Maja, with its discreet balance between naturalism and elegance, that comparison can best be made in this case.Mahmoud Mousa is generally regarded as the artistic successor to the great Mahmoud Mokhtar. He was a pioneering artist of the second generation, beginning his artistic career when, in 1931, he joined evening classes run by the Amateurs Society, then under the direction of Mahmoud Said, and received further training from Mahmoud Mokhtar, which contributed to the development of the signature Pharaonic revival style which is the hallmark of some of the most celebrated examples of twentieth century Egyptian sculpture.Moussa's artistic skill and aesthetic sensibilities came from his experience with sculpting marble gravestones, demonstrated in his ability to work on a shallow surface, and his deftness in imbuing his figures with a unique expressiveness, grace and austerity evident in the president composition.He became a member of the teaching staff at the sculpture department of the Faculty of Fine Arts in Alexandria, in 1957. He participated in several group exhibitions in Cairo and Alexandria including several appearances at the Alexandria Biennale, including winning the prize for sculpture in Alexandria Biennale in 1955.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

FRANZÖSISCHE SCHULE18. Jh.Titel: Der Zeichenschüler vor einer Marmorskulptur. Technik: Öl auf Holz. Maße: 20,5 x 18cm. Rahmen/Sockel: Rahmen. Literatur:C. Hofstede de Groot: A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, Vol. 1. London 1907, S. 74, Nr 284. Hier als Jan Steen mit der Provenienzangabe: Nachlassauktion Petronella de la Court, 19.10.1707, Nr. 27.Provenienz:Versteigerung Peltzer, Frederik Muller, Amsterdam, 20.05.1919, Nr. 83 als Pieter van der Werff; Sammlung Cornelius Hofstede de Groot, bis vor 1922;Sammlung Jacques Goudstikker, Amsterdam;Zwangsverkauf an Alois Miedl und Hermann Göring, Juli 1940;Auktion H.W. Lange, Berlin 03./04.12.1940, Lot 167 als Zuschreibung an Jan Steen;seitdem Privatbesitz, Deutschland.Das Werk wurde an Marei von Saher restituiert, die Erbin nach Jacques Goudstikker.Wir danken Ellis Dullaart, RKD, Den Haag, die die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochauflösenden Digitalfotografie bestätigt hat.Erläuterungen zum KatalogFranzösische Schule Frankreich Originale Künstler Gemälde Atelier FRENCH SCHOOL18th C.Title: A Drawing Student in front of a Marble Sculpture. Technique: Oil on wood. Measurement: 20,5 x 18cm. Frame/Pedestal: Framed.Literature:C. Hofstede de Groot: A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, Vol. 1. London 1907, p. 74, no. 284. Here as Jan Steen with provenance details: Estate auction Petronella de la Court, 19.10.1707, no. 27.Provenance:Auction Peltzer, Frederik Muller, Amsterdam, 20.05.1919, no. 83 as Pieter van der Werff; Collection Cornelius Hofstede de Groot, until before 1922;Collection Jacques Goudstikker, Amsterdam;Foreclosure sale to Alois Miedl and Hermann Göring, July 1940;Auction H.W. Lange, Berlin 03./04.12.1940, Lot 167 attributed to Jan Steen;since then private ownership, Germany.The work was restituted to Marei von Saher, the heiress after Jacques Goudstikker.We are grateful to Ellis Dullaart, RKD, The Hague, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph.Explanations to the Catalogue

Arno Breker (1900-91) – "Sinnende", Bronze mit brauner PatinaUnten am Sockel signiert und datiert "Arno Breker 1980", Gießereistempel "venturi arte" und Nummer "163/999". Auf Marmorsockel (Ecken des Sockels teilweise leicht bestoßen). Gesamthöhe ca. 37 cm. Guter Zustand. Eindrucksvolle, elegant geformte Bronzestatuette. Arno Breker gilt als einer der bedeutendsten Bildhauer klassischer Tradition im 20. Jhdt. In der großen europäischen Bildhauertradition französischer Prägung steht er neben Auguste Rodin, Charles Despiau und Aristide Maillol. Vgl.: Hermann Historica, A77, 22.11.2018, Los 8244 (identische Figur), verkauft für 4750 Euro.Zustand: I -Arno Breker (1900-91) – a Musing Female, bronze with brown patina Signed and dated at the base "Arno Breker 1980", foundry stamp "venturi arte" and number "163/999". On marble base (corners of the base partially slightly bumped).Overall height ca. 37 cm. Good condition. Impressive, elegantly shaped small bronze sculpture. Arno Breker is considered to be one of the most significant sculptors of the 20th century, following the classic European tradition influenced by French artists such as Auguste Rodin, Charles Despiau and Aristide Maillol. See: Hermann Historica, A77, 22 November 2018, lot 8244 (identical figure), sold for 4750 euros.Condition: I -

MONUMENTALE BÜSTE NAPOLEON I. BONAPARTE ALS MARS PACIFICUS. Italien. Datierung: Wohl 19.Jh. Meister/Entwerfer: Nach Antonio Canova (1757-1822). Technik: Weißer Marmor. Maße: Höhe 93cm, Breite 46cm. Das Vorbild der kolossalen Büste Napoleon I. als Mars Pacificus, schuf Antonio Canova 1803-1806 in Form der überlebensgroßen Skulptur, die heute in Apsley House in London aufgestellt ist.Auch wenn Napoleon I die Kolossalfigur aufgrund ihrer Nacktheit ablehnte, fand die daraus abgeleitete Büste großen Anklang.Sie wurde zu einem der offiziellen Porträts des Herrschers und erfuhr dadurch eine weite Verbreitung innerhalb Europas.Um die hohe Nachfrage bedienen zu können wurde sie nicht nur in Canovas Werkstatt gearbeitet, auch eine von Napoleons Schwester Elisa Bonaparte Baciocchi gegründete Akademie und Werkstatt in Carrara fertigte Reproduktionen der Büste.Die beeindruckende Büste steht in der Tradition der kolossalen Porträts römischer Kaiser und ist so auch Zeugnis und Ausdruck des Selbstverständnisses Kaiser Napoleon I. Erläuterungen zum KatalogItalien Einrichtungen und Dekorationen MONUMENTAL WHITE MARBLE BUST NAPOLEON I. BONAPARTE AS MARS PACIFICUS. Italy. Date: Presumably 19th century. Maker/Designer: After Antinio Canova (1757-1822). Technique: White marble. Measurement: Height 93cm, width 46cm. The model for the colossal bust of Napoleon I as Mars Pacificus, was created by Antonio Canova in 1803-1806 in the form of a larger-than-life sculpture that is now displayed in Apsley House in London.Even though Napoleon I rejected the colossal figure due to its nudity, the bust that was created from it was very well received.It became one of the official portraits of the emperor and thus experienced a wide distribution within Europe.In order to meet the high demand for the bust, it was not only produced in Canova's workshop, but also at an academy and workshop founded in Carrara by Napoleon's sister Elisa Bonaparte Baciocchi. The impressive bust follows the tradition of the colossal portraits of Roman emperors and is thus also a testimony and expression of the self-image of Emperor Napoleon I. Explanations to the Catalogue

An early 20th century French bronze sculpture, raised on verde marble plinth. Depicting an ancient Greek figure on horseback.

David Worthington (b.1962) Push Marble Marble, 2015 40cm dia. Base 4cm thick. This lot is subject to VAT on the hammer price.  Horatio's Garden will receive 50% of the hammer price. While a teenager David Worthington became interested n sculpture. He graduated from Oxford University in 1984 with a degree in Philosophy and Theology. He had two solo shows at the prestigious London Gallery Alexander Reid and Lefevre and was the invited sculptor in 2001 at the world-renowned Glyndebourne Festival Opera. In 2001 he completed an MA in Visual Culture at Middlesex University. The Crane Kalman Gallery took his work to Miami Basel in 2002. In 2003 he performed with the Guillermo Gomez Pena Group at the Tate Modern as part of the Live Performance Festival. In 2007 he finished an MA in Computer Arts at the University of West London He was shortlisted for the Jerwood Sculpture Prize in 2009. In 2010 he installed a large public sculpture in Great Queen St Covent Garden for Henderson Global Investors. He sat on the Council of The Royal British Society of Sculptors, was elected a Fellow by his peers, in 2009, and Vice President in 2010. In 2012 he is curated an exhibition of 24 artists at the Chelsea Physic Garden in association with John Martin and the Eden Project. In 2015 he had a solo exhibition at the William Bennington Gallery. He has taken part in group shows at Colyer Bristow Gallery, Blueprint Fine Art ,Sculpture at Fulmer with Brooke Bennington Gallery and Moreton Walled Garden , Dorset. In 2019 he installed a large public sculpture at Dunvegan Castle Isle of Skye. He is currently exhibiting at Messums Wiltshire Tisbury. In 2021 he will be unveiling a large public sculpture in Woking. He has carried out public commissions in the UK, America and Japan. His work is in the museum the Creative Cities Collection Beijing China.

Lamp with Art Nouveau bronze sculpture depicting a nude woman signed A.Bruno, early twentieth century. With marble base. H 66 cm

Fiona Celia Goldbacher (20th century), a marble and hardstone abstract sculpture of hollowed form, on a separate marble base, 39 cm high x 12.5 cm wide.Footnote: Fiona has worked as a sculptor in alabaster, marble and terracotta for the past forty years; at her home and studio in Pietrasanta Tuscany, near the marble centre of Carrara, where she used to spend half the year. Pietrasanta has a thriving community of sculptors and artisans. She has had many exhibitions there: of her series of large figurative and abstract pieces, based on dance movements in travertine, carrara and pink rosa portogallo marble, and of her series of mother and child pieces in alabaster and soapstone. When In London she works mainly on her flower paintings and landscapes in gauche or oils. She has exhibited her paintings in London, Morocco and Japan.

A LARGE BRONZE SCULPTURE OF A GERMAN EAGLE. The cast and patinated bronze eagle with wings displayed and head turned to the left, standing on a laurel wreath containing a Swastika, on a monumental plinth cast with 'Deutfchland', and a marble base. 45cm high 29cm wide.

A BRONZE SCULPTURE OF TWO SALVADOR DALI FIGURES ON A MARBLE BASE H:35CM

20th century British School, baby within a swirl of Parents, bronze sculpture, indistinct monogram and dated 99, raised on marble base, H.18cm (including base)

A white marble 'free-flow wave' sculpture,: on tapering block base, 89cm high (small chip).

A large bronze sculpture 'The Broncho Buster'After Frederic Remington (American, 1861-1909)Modelled as a cowboy on a rearing horse, dark brown patination, the naturalistic base inscribed 'Frederic Remington', on a green marble base.58cm wide; 75cm high