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A Franklin Mint bronze sculpture Strands of Love, modelled as a mother standing holding her child playing with her necklace, raised on a circular marble base, 26cm H.

NO RESERVE Sculpture.- Panofsky (Erwin) Tomb Sculpture: Its Changing Aspects from Ancient Egypt to Bernini, 1964 § Arnason (H.H.) The Sculptures of Houdon, 1975 § Irwin (David) John Flaxman 1755-1826: Sculptor, Illustrator, Designer, 1979 § Bindman (David) Warm Flesh, Cold Marble: Canova, Thorvaldsen and their critics, 2014 § Whinney (M.) Sculpture in Britain 1530 to 1830, 1964, illustrations, original cloth or boards with dust-jackets; and 8 others on sculpture, 4to & 8vo (13)

After Joules Moigniez, a patinated bronze sculpture depicting stag on a rocky outcrop, on polished marble base, signed, overall height 74cm

A 19th century carved and painted wood head sculpture, unsigned, on modern marble plinth, overall height 37cm

1st century AD. A carved marble head of a male figure facing forwards, once belonging to a statue; eyes, nose, mouth and ears clearly defined, full head of short curly hair; plain thin 'headband' emerging from the curls at the rear, spanning a short section of the back of the head, the resultant parting and movement of the curls realistically modelled; mounted on a custom-made display stand. See Hinks, R.P., Greek and Roman Portrait Sculpture, London, 1976, for discussion.4.9 kg total, 28cm including stand (11"). Property of a gentleman living in central London; previously in a private North American collection, New York and Palm Beach, acquired in the 1960-1970s.Fine condition.

3rd millennium BC. A carved marble idol; arms bent at the elbow where a contrast in the size of the upper and lower arm is apparent; wide hips with tapering lower body; legs and pelvic region defined with incised lines at the front of the body; buttocks defined by a single downward facing triangular-shaped incised line at the rear; mounted on a custom-made stand. See von Bothmer, D., Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection, New York, 1990.526 grams total, 23cm including stand (9"). From an important London collection; formerly in an old private English collection, formed in the 1970s. Early Cycladic sculpture comprises predominantly female figures that range from simple modification of the stone to developed representations of the human form, some with natural proportions and some more idealised. Many of these figures, especially those of the Spedos type, display a remarkable consistency in form and proportion that suggests they were planned with a compass. Scientific analysis has shown that the surface of the marble was painted with mineral-based pigments-azurite for blue and iron ores, or cinnabar for red. The exact purpose of these figures is not known but their most likely function is as some sort of religious idol and the predominance of female figures, sometimes pregnant, suggests a fertility deity. Supporting this view is the fact that figurines have been found outside of a burial context at settlements on Melos, Kea and Thera. Alternatively, precisely because the majority of figures have been found in graves, perhaps they were guardians to, or representations of, the deceased. A video of this lot can be viewed on Timeline Auctions website. Fine condition.

4th-3rd millennium BC. A fine grained marble figure of a stylised female; flat, fan-shaped head with long prominent nose ridge; flat lozenge-shaped body, small breasts; incised lines for the arms, legs together defined by incised line; mounted on a custom-made support. 430 grams, 27cm including support (10 1/4"). Property of a London gentleman; acquired from a major Mayfair gallery; acquired on the London art market before 2000. Early Cycladic sculpture comprises predominantly female figures that range from simple modification of the stone to developed representations of the human form, some with natural proportions and some more idealised. Many of these figures, especially those of the Spedos type, display a remarkable consistency in form and proportion that suggests they were planned with a compass. Scientific analysis has shown that the surface of the marble was painted with mineral-based pigments-azurite for blue and iron ores, or cinnabar for red. The exact purpose of these figures is not known but their most likely function is as some sort of religious idol and the predominance of female figures, sometimes pregnant, suggests a fertility deity. Supporting this view is the fact that figurines have been found outside of a burial context at settlements on Melos, Kea and Thera. Alternatively, precisely because the majority of figures have been found in graves, perhaps they were guardians to, or representations of, the deceased. Fine condition, old repair.

2nd-3rd century AD. A bronze figure of Hercules (Greek Herakles) standing nude with left leg forward, left arm resting on a club, right arm resting on his hip; mounted on a custom-made stand, the statue recalls the well known model of the Farnese Hercules. Cf. Rolland, H., Bronzes Antiques de Haute Provence, Paris, 1965, item 100, for type; see Gasparri C., (ed.), Le sculture delle Terme di Caracalla, in Le sculture Farnese, vol. 3, Milano, Electa, 2010, for discussion on the Farnese Hercules.253 grams total, 14.3cm including stand (5 3/4"). Property of a Durham, UK, lady; formerly in the collection of her mother, of Mrs Allan; acquired from Sotheby & Co, 34-35 New Bond Street, London, UK, 29 June 1970, lot 74; thence by descent to the current owner; accompanied by a collector’s tag, and a copy 1970 catalogue. The Farnese Hercules is a 317cm high Hellenistic marble sculpture by Glycon of Athens, dating from the 3rd century AD, kept in the National Archaeological Museum of Naples, which appears to be a copy of the bronze original created by Lysippus in the 4th century BC. His signature can be found on the rock, under the club. Fine condition.

R Van Ruyckevelt St Denis Bramble Sculpture A109, on marble base, shell posy, Taylor and Bligh brass quartz carriage clock, Siemen's and Halske cine camera 16mm films, in leather case etc:- One Tray

Carved wooden sculpture of man on marble base - H: 83cm

A 1920's German Art Deco bronze sculpture of Pierrot doffing his hat and set on a rough stone plinth, with ivory head, signed to base Schmidt - sold with a spelter figure of a nude woman on a marble base

A BRONZED RESIN EROTIC SCULPTURE ON MARBLE BASE, 25CM LONG, A SMITH'S BAKELITE MANTEL CLOCK AND  A STAFFORDSHIRE ART POTTERY BLACK GROUND VASE

FRANK MEISLER (Israeli, 1929-2018); 'Noah's Ark', a gold washed metal sculpture with twin hinged doors to front, titled to plaque on marble base, 39.5 x 33cm.Additional InformationLight general wear,

French School (19th century), a floor standing white marble sculpture, of a young girl, canted rectangular base, 115cm high

An Italian patinated bronze of the Bacchic Faun or 'Faun in Rosso Antico', after the Antique, probably Rome, first half 19th century, the grinning faun portrayed standing and nude for a draped goat's skin around his shoulders, raising a bunch of grapes with his right hand and holding a curved club in the other, flanked by a tree trunk with pan flute to one side, and with a goat leaning on a wicker basket to the other, on an integral octagonal plinth, 36cm high, 21cm wide The present model is a reduction of the Faun in Rosso Antico marble which was excavated before 1741 at Hadrian's Villa. The marble group was subsequently given to the Capitoline Museums by Pope Benedict XIV in 1746, where it was met with admiration. The workshop of Giovanni Zoffoli is known to have produced reductions of the Faun, and an example of very similar size and patination by this maker is at Anglesey Abbey. See Francis Haskell and Nicholas Penny, Taste and the Antique, The Lure of Classical Sculpture 1500 - 1900, Yale, 1981, 39, fig. 111, pp. 213-15 Cf Christie's New York, 13 April 2016, lot 23.

Attributed to Harry Bates ARA (British, 1850-1899), a patinated bronze model of Pandora, probably a maquette, the kneeling figure portrayed holding a casket, mounted to a cuboid green serpentine plinth, the bronze 9cm high, 16cm high overall including base Harry Bates was an important part of the late 19th century New Sculpture movement, alongside renowned sculptors such as Frederic, Lord Leighton and Sir Alfred Gilbert. He began his career as an ornamental carver, and primarily created classically inspired reliefs during his early years. Pandora was one of Bates' first ventures into three-dimensional statuary, and is arguably his most iconic piece. It was exhibited at the Royal Academy in 1890, and entered the Tate collection the following year, having been acquired for the nation. The combination of marble with the ornately carved ivory box and precious gilt bronze demonstrates the influence of the chryselephantine sculpture popular in France, where Bates had recently trained under Auguste Rodin. The composition shows Rodin's interest in classicism, though its pensive and introspective mood is not unlike the works of Jules Dalou, under whom Bates had first studied at Lambeth School of Art. Though faithful to the composition in the Tate collection, the loose modelling and textural surface of the present work represent a contrast with the impeccably smooth surface of the larger marble, and is likely a maquette in preparation for this highly finished exhibition piece. Literature: Susan Beattie, The New Sculpture, Yale University Press, 1983, particularly pp. 166-7 David Getsy, Privileging the Object of Sculpture: Actuality and Harry Bates' Pandora of 1890, Art History, 2005, 28:1, pp. 74-95.

Charles Auguste Fraikin (Belgian, 1817-1893), a patinated bronze group of Venus and Cupid called l'Amour Captif, third quarter 19th century, the maiden portrayed nude for a light drape and balancing on her left leg, the captured amirono seated on her right shoulder, the naturalistically modelled base cast with a tree stump and a quiver of arrows, indistinctly stamped 'FRAIKIN' and 'VITTOZ BRONZIER, PARIS', 57cm high Fraikin trained in Antwerp and specialised in Neoclassical sculpture. He won a gold medal for l'amour captif at the 1845 Brussels Salon, and marble versions of the model were subsequently acquired by the Museum of Fine Arts, Brussels and the Hermitage, St Petersburg. The popularity of this model led to further consignments including a monumental sculpture of King Leopold.One monumental marble version was sold at Christie's Amsterdam, 21 November 2007, lot 1033. A similar size model was sold at Sotheby's London, 7 October 1998, lot 345.

After Giovanni Battista Foggini (1652-1725), a French patinated bronze model of the Arrotino after the Antique, 18th century, possibly from the workshop of Joseph Vinache (1653 - after 1717), the bearded male subject portrayed seated on a rock and grinding a knife on the block before him, on a textured rectangular base cast with foliage, 29cm high, 31cm wide, 16cm deep Florentine Baroque sculptor Foggini was commissioned to create a life size model of the much-admired Arrotino for King Louis XIV in 1684, to be displayed at Versailles. The Antique marble, which was first recorded in an engraving by Maarten van Heemskerck in 1532 and had been in the collection of Cardinal Ferdinando de' Medici, had certainly moved to the Uffizi Gallery by 1680. Though the work has invited many interpretations, the male subject is most often believed to be the executioner of the satyr Marsyas, whose death by flaying is described in Ovid's Metamorphoses. When Foggini's Arrotino and its pendant, a crouching Venus after the antique by Coysevox, were moved from Versailles to the Tuileries, a pair of life size models in bronze were commissioned to replace them in 1688-9. These casts have been variously attributed to the Keller foundry and, convincingly, to the specialist foundry of Joseph Vinache (1653 - after 1717). Many reductions of the Arrotino were cast around this time, including one 18th century example at the Wallace Collection, which has been suggested to originate from the foundry of Vinache due to its very similar or identical patterns of terrain to the base.The chasing, finishing and dimensions of the present lot closely resemble the model at the Wallace Collection (note for example the foliage to the plinth), which could indicate that it originated from the same foundry as that example. Of particular note is the distinctive incised roundel beside the rectangular block, which is possibly a tooler's mark.Early 18th Century versions of the Arrotino, or 'Rotatore' as he is sometimes called, have occasionally appeared on the market. See for example Sotheby's London, Old Master Sculpture and Works of Art, 8 July 2011, lot 67, where the model was sold with the Venus after Coysevox as its pendant.Literature: Robert Wenley, French Bronzes in the Wallace Collection, London 2002, pp. 42-45 Francis Haskell and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture, 1500-1900, Yale University Press, 1981, pp. 154-157

A 19th Century alabaster figurine depicting the Boy with Thorn in his foot, also called Fedele (Fedelino) or Spinario. White marble effect, the well sculpted figure raised on stepped circular pedestal base. The original is a Greco-Roman Hellenistic bronze sculpture of a boy withdrawing a thorn from the sole of his foot, now in the Palazzo dei Conservatori, Rome. Measures: 21cm tall.

19TH CENTURY CAST BRONZE SCULPTURE RETRIEVER HUNTING DOG ON A MARBLE PLINTH EXCELLENT PATINA

19th Century CAST BRONZE SCULPTURE RETRIEVER HUNTING DOG ON A MARBLE PLINTH EXCELLENT PATINA, POSSIBLY FRENCH

AN EARLY 20th CENTURY PATINATED BRONZE SCULPTURE modelled as a gun dog mounted on a rouge marble base 10cm high, 11.5cm wide

SEVRES. A LATE 19th CENTURY FRENCH PATINATED BRONZE SCULPTURE of a young boy with tricorn hat about to go ice skating, mounted on a rouge marble base 18cm high - signed

Attributed to John Erskine Milne 1931 - 1978. A bronze sculpture with Impressed artist monogram and dated 1914. 1/9. Mounted on a green marble base. H.43cm base 18cm x 38cm.

Geo Vindevogel (1923-1977): Female nude, patinated bronze on a black marble base--L 26,5 cm (the sculpture)Ê 9,6 x 26,9 cm (the stand)Ê H 6,6 - 4,5 cm (with and without the stand) Ê Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

French school, after Dumont: The kiss, biscuit on a black marble gilt bronze mounted base, 19th/20th C.--H 25 cm Ê Ê Most probably biscuit de Svres. The prototype of this sculpture was made by Dumont in 1786 (link).Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

AFTER PIERE-JULES MENE bronze sculpture - entitled 'L'Accolade No.2' (The Embrace No.2), bears signature to base, 'P.J.Mene', on black marble plinth base, 64cms long x 28cms wide x 48cms high ~Auctioneer's Note: L'Accolade is one of Mene's most famous works, first exhibited at the Paris Salon in 1852 with the title 'Tachiani and Nedjebe' , depicting a courting Arab mare and stallion. Mene won a medal for the work in 1855 at the Exposition Universelle in 1855. This is the largest of the three sizes that L'Accolade was cast Condition Report: good overall condition.Lots marked with ~ can be collected by couriers by appointment 

AFTER HOWARD WHITTAKER bronze sculpture - 'Seabiscuit', the famous American race horse with Johnny 'Red' Pollard Up, base bears signature and copyright date 2001, on black marble plinth base, 59cms long x 24cms wide x 55cms high ~Auctioneer's Note: This bronze represents Red Pollard on Seabiscuit on the occasion of the famous head to head race against War Admiral at the Pimlico racecourse in Baltimore on the 1st November 1938, the race was promoted by the media as a David and Goliath / West Coast v East Coast battle. Seabiscuit, the underdog, was of small stature but despite this disadvantage, overcame War Admiral by four lengths to the applause of 40,000 race go-ers and 40 Million radio listeners including Franklin D Roosevelt, it was perceived as a symbol of hope during the great depression. Condition Report: riding crop slightly bent, otherwise good overall condition.Lots marked with ~ can be collected by couriers by appointment 

Donald Moss (1920 - 2010) "The Biltmore House". Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 18c Biltmore House stamp issued August 28, 1981. More than any other American architect of his day, Richard Morris Hunt created buildings that suited the taste of the very rich. His lavish country home, Biltmore House, epitomizes this talent. Built for George Vanderbilt amid the lofty grandeur of the Blue Ridge Mountains, it is a strikingly beautiful monument to the wealth of a Gilded Age. To create a mansion of the splendor his client desired, Hunt took inspiration from the Renaissance chateaux of France. Flying buttresses, clusters of pinnacles, gables and gothic chimneys combine in this towering house to make the surrounding mountains, as architect Hunt declared, "in scale with the house." Inside, the home is just as grand. Chandeliers, bejeweled with Thomas Edison's newly devised light bulbs, hang pendant-like amid a swirling marble and bronze staircase that reaches -- from appearances -- all the way to heaven. The library is paneled in rich, Circassian walnut and reflects both the taste and the wealth of a man who could afford to travel the world learning eight languages and cultivating a taste for art and literature. Today, the lavish Biltmore House is a museum with a collection of paintings, sculpture, prints and furniture that is a marvel to the modern age. Stately and remote, the house towers over landscaped gardens and rolling lawns, a testimony to the skill and vision of architect Hunt, the pioneer of palace building in America. Image Size: 17.5 x 15 in. Overall Size: 20 x 19.75 in. Unframed. (B07092)

Andrew DeVries (Massachusetts, Born 1957) Bronze "Ode to Joy" on marble pedestal. Inscribed and numbered (11/12) near lower portion. DeVries is a member of the Sculpture Society of Canada, and his work is in the National Museum of Dance; the Chesterwood Museum where he was also a Sculptor-in-Residence from 1996 to 2003; Springfield Museums; and Ventfort Hall Museum of the Gilded Age. Comes with certificate of authenticity, catalog by the artist and original bill of sale. Overall Dimensions (including base): 24.5 x 12 x 5 in.

§ THOMAS WHALEN (1903-1975) DANCING FIGURES, CIRCA 1930 marble panel, inscribed with monogram (Dimensions: 48.5cm x 68cm)(48.5cm x 68cm)Footnote: Note: Thomas Whalen was born in Leith, Edinburgh, and studied sculpture at Edinburgh College of Art. He worked mainly in wood and stone, carving relief works for churches and public buildings as well as private commissions. Influenced by Eric Gill, Ivan Mestrovic, Carl Milles, as well as French and medieval sculpture, Whalen carried out a number of religious commissions, as well as work for schools, civic venues and power stations. There are works by Whalen in public collections in Aberdeen, Edinburgh and Bolton and he exhibited at the RSA from 1930-76, was elected ARSA in 1940, and RSA in 1954.

THOMAS J. CLAPPERTON (1879-1962) 'WONDERLAND', CIRCA 1926 bronze, with revolving socket on a dished marble base, signed in the bronze THOS. J. CLAPPERTON (Dimensions: bronze 31cm high, marble base 12.3cm high, 43cm diameter)(bronze 31cm high, marble base 12.3cm high, 43cm diameter)Footnote: Image re f: 1/4-055813-G. Alexander Turnbull Library, Wellington, New Zealand. Note : Regarded as ‘The Border Sculptor’, Thomas Clapperton initially trained at the Glasgow School of Art, before becoming apprentice to Sir William Goscombe John, one of the most eminent sculptors of the period. After much time studying in Paris and Rome, Clapperton eventually settled in London and setup a sculptor's studio in Chelsea. Although his sculpture of Robert the Bruce at Edinburgh Castle is renowned, the sculptor’s skilful execution of numerous war memorials are also highly regarded. In the immediate aftermath of the First World War, the nation was in mourning and anxious to reflect; Clapperton’s sympathetic and emotive treatment of the subject won him several commissions at this early stage in his career, including those from as far afield as New Zealand. During an official visit to the UK, mayor Robert Milligan was charmed by Sir George Frampton’s portrayal of Peter Pan in Kensington Gardens, now an iconic homage to J. M. Barrie’s novel of the same name. Following this, he reached out to Clapperton for two commissions: one for the North Otago War Memorial; and the other for ‘Wonderland’. Initially, the mayor’s request was to produce a direct replica of Frampton’s Pan, however Clapperton felt copying the work of his contemporary would not be appropriate so instead agreed to produce a similar bronze, drawing inspiration from the piece. The influence from Frampton’s Pan are clear in ‘Wonderland’: a conical base with mystical fairies, pixies and woodland creatures perching amongst the naturalistic rockery; the charming innocence of the figures in search of adventure. Clapperton however, opts for a more dynamic rendition of the piece, as the figures interact with the wonderland they have just discovered below them. The girl, perhaps a representation of J.M. Barrie’s Wendy , sits on the edge of the rock face and delights in the fantasy world below. The boy, eagerly peering over the edge, is about to be drawn in to the dreamlike world by one fairy, reaching out to touch the tip of his foot, as if inviting the children into Wonderland. Upon its completion in 1926, Robert Milligan gifted the piece to the children of Oamaru, New Zealand, where it still stands today in the Wonderland Garden. The finished bronze, of which this is a reduction, marks Clapperton’s diversity as a sculptor, stepping away from sombre memorial compositions to stir up fond memories of the joys of childhood.

ENGLISH SCHOOL FREEFORM SCULPTURE, CIRCA 1960 hardwood, steel and marble, unsigned (Dimensions: 53cm high)(53cm high)

SIR GEORGE JAMES FRAMPTON (1860-1928) 'PETER PAN', DATED 1911 patinated bronze, signed with initials in the bronze GF and dated 1911, also inscribed with an encircled PP and raised on a veined green marble base (Dimensions: figure 48cm high, total height 52.5cm)(figure 48cm high, total height 52.5cm)Footnote: Provenance: Sir Alexander Walker II (1869–1950) Literature: Skipwith, Peyton Sir George Frampton & Sir Alfred Gilbert, Peter Pan & Eros: Public & Private Sculpture in Britain 1880-1940 ', The Fine Art Society, London 2002 Note: Sir Alexander Walker II (1869–1950) was the younger grandson of John 'Johnnie' Walker, creator of the famous whisky brand. Sir Alexander donated this figure of Peter Pan to a local educational trust on his death. In 1911 an anonymous donor commissioned Sir George Frampton to create a sculpture of Peter Pan to be placed on the very spot in Kensington Gardens where the magical boy appears nightly in J M Barrie's Little White Bird of 1901, the first book in which the character appears. Sir George Frampton's 'Peter Pan' is one of the best-known monuments in London, based on the character from J.M. Barrie's novel of the same name, with the author commissioning the statue in Kensington Gardens himself. When it was completed, the original life-size bronze was first shown in 1911 at the Royal Academy, London. Subsequent to this exhibition the life-sized figure was erected overnight in secret in 1912, with no pre-publicity, simply a brief announcement which appeared in The Times that day: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning…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.' Sir George James Frampton (1860-1928) studied at the Royal Academy, becoming president of the Royal Society of Sculptors in 1911, and is known as one of the leading figures in the New Sculpture movement. Peter Pan marks a technical milestone in the evolution of public sculpture in Britain, reflecting advances in casting by two of Britain's leading foundries at the time, Singer's and Burton's. A further six life-sized casts were erected, in Liverpool, Australia, Belgium, Canada, and the US, demonstrating the wide-spread popularity of Frampton's interpretation of the character. Taking advantage of its immediate popular appeal, Frampton produced a series of bronze reductions of the main figure as an independent statuette. Despite the familiar presentation of this figure, the early date and subtle details in the casting point to this example being an early, perhaps the first, trial casting.

JOSEPH LORENZL. AN IMPRESSIVE ART DECO SILVERED BRONZE SCULPTURE OF LARGE PROPORTIONS modelled as 'The Flute Girl' mounted on a variegated marble column 61.5cm high - signed to base

AN EARLY 20th CENTURY PATINATED BRONZE SCULPTURE modelled as a gun dog mounted on a rouge marble base 10cm high, 11.5cm wide

AFTER VASILY GRACHEV (1831-1905) A LARGE 20TH CENTURY RUSSIAN BRONZE SCULPTURE TITLED 'THE MILEPOST' signed Vasily Grachev - mounted on slate and marble rounded base 46cm wide 32cm deep.

MAURICE GUIRAUD-RIVIERE. A LARGE ART DECO GREEN PATINATED BRONZE SCULPTURE modelled as a seated young female nude with legs crossed on a marble base playing a set of pan-pipes 46cm high - signed

A LATE 19th CENTURY PATINATED BRONZE SCULPTURE modelled as a gun dog standing on naturalistic base mounted on red marble plinth 18cm high, 37cm wide

AN EARLY 20TH CENTURY CARVED WHITE MARBLE SCULPTURE OF MICHAELANGELO'S MOSES - unsigned 44cm high.

AN EARLY 20th CENTURY GILT BRONZE SCULPTURE modelled as a recumbent greyhound mounted on a marble base 15cm wide - signed

METELLO MOTELLI ACTIVE 1851-1894 - A 19TH CENTURY MARBLE SCULPTURE depicting a seated semi-nude classical maiden holding a lyre 55.5cm high on moulded Oak plinth base 10cm high - signed and inscribed Milano 1861

AN EARLY 20th CENTURY BRONZE SCULPTURE modelled as a gun dog on the scent, mounted on black marble and onyx base 21.5cm high, 36.5cm wide

A LARGE 19th CENTURY PATINATED BRONZE SCULPTURE modelled as Samson slaying the Lion stood on black marble plinth 66cm high

Garden statues/Sculpture: A white marble figure of an urchin, Italian, circa 1900, indistinctly signed Achille de *****, 115cm high

Garden statues/Sculpture: Attributed to Edward Physick: A carved white marble bust of Arthur Wellesley, the 1st Duke of Wellington, 74cm high by 29cm wideProvenance: Removed from a house formerly owned by a member of the Physick family of sculptors.The Physick family of sculptors were first established in Cornwall in the 1760's and for over a century the eldest son was always called Edward which sometimes makes identification difficult.Three busts of Arthur Wellesley 1st Duke of Wellington are recorded as being by Edward William Physick, in 1832, 1843 and another with an unrecorded date made for the Merchant Taylor's Hall in the City of London. This bust is undoubtably of the Duke with his distinctive nose and mutton chop whiskers and is likely to have been made in the latter stages of his life prior to his death in 1852.Unusually it shows him in normal dress of the day, rather than in ceremonial robes or classically draped.

AFTER CHARLES AUGUSTE FRAIKIN (BELGIAN 1817-1893) L'Amour Captif, bronze with dark brown patina height including base: 57 cm (22 1/2 in.) signed and marked with E. de Labroue foundry mark on base LOT NOTESThe present bronze is modelled after the original sculpture by Charles-Auguste Fraikin. L'Amour Captif was exhibited in plaster at the Exposition Nationale des Beaux-Arts, Brussels in 1845, then in marble in 1848 at the same venue, as well as at the Crystal Palace Great Exhibition of 1851 and the Dublin International Exhibition in 1853. The marble sculpture is held in the collection of the Musee Royale des Beaux-Arts, Brussels, the plaster held at the Musee Auguste Fraikin, Herentals.

ROBERT CAUER (German, 1863 - 1947) marble sculpture - bust of Henry Hussey Vivian 1st Baron of Swansea in the classical robed style, raised on a turned socle, signed and titled verso, 75cms high Provenance: consigned directly from a member of the Vivian family

DARREN YEADON Carrara marble sculpture - stylized fish, 47cms long

PETER NICHOLAS (1934 - 2015) bronze sculpture - head portrait of Aneurin Bevan, mounted to a stepped mottled marble base, signed and dated 1985, 23cms high

DARREN YEADON Preseli bluestone sculpture on Carrara marble base - abstract, entitled 'Star', 95cms high

Large one-piece white marble sculpture depicting a Roman patrician woman in drapery. Beautiful finesse of execution, nice expression. General condition satisfactory despite a small crack on the left wrist. Work probably French, circa 1950. Height 68 cm.

Pair of large gilt metal mantel clocks, about "Allegory of the Arts" and "Cupid and Love". Both elements are based on a large marble base. Signature Geo Maxim for sculpture and A. Salle Paris for the mechanism of the Allegory of Arts; anonymous work for the sculpture of "Cupid", mechanism signed Couson Pantin. France, around 1910. Same widths of 60 cm, height 48 and 55 cm. Good condition, both clocks with keys and pendulums.

Ferdinand de Luca, A large bronze sculpture of a farm girl holding a wheat sheaf with a goat at her feet, on a stepped marble base, 2ft H

A hollow-cast patinated bronze abstract sculpture, probably mid-20th century, unsigned, on marble block plinth, overall height 61cm

A 3-dimensional carved and stained wood abstract sculpture in the manner of Henry Moore, unsigned, probably mid-20th century on stepped marble block base, overall height 63cm

A modern bronze sculpture, angel carrying a Classical figure, unsigned, on marble base, height 28cm

An Art Deco patinated bronze faun sculpture, unsigned on black marble plinth, length 28cm, height 26cmPatination very slightly pitted

John Rattenbury Skeaping R.A. (1901-1980), a bronze sculpture of Lady Godiva upon a rearing horse, she modelled as a nude Amazonia female with long flowing hair, signed to the base John R Skeaping (1968) upon a green marble plinth, this design was commissioned by Leonard Lee, formally of racing engines project at Coventry Climax and later Victorius Godiva Fire Pump Racing Engines 1954-1965. The originals of this design each have the name of the recipient engraved along the side, bearing signature. Height 33.5 cm, length 41 cm (see illustration). CONDITION REPORT: The bronze is in extremely good order. There are no breaks and no losses. The patination is good and there are no significant scuffs, marks or scratches. The marble plinth is in good condition all round with no issues.

A GROUP OF SCULPTURES to include a spelter figure of Joan of Arc, a small bust of Diana on a marble plinth, a figure of an athlete after the antique, a brass lion with glass eyes and a female saint, together with an alabaster sculpture of Hercules, the female saint standing 23cm high (6)