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HEPWORTH BARBARA: (1903-1975) English sculptor. An excellent vintage signed 5 x 6.5 photograph, the image depicting Hepworth standing outdoors on a scaffold as she surveys two large limestone blocks. Photograph by Studio St. Ives Ltd. Signed ('Barbara Hepworth') in dark fountain pen ink to the verso, further adding an explanatory annotation in her hand, 'B. H. April 1950. Two stones for Arts Council Commission before working'. Unusual in this form. About EXIn 1951 Hepworth was commissioned by the Arts Council to create a sculpture for the Festival of Britain. The resulting work featured two Irish limestone figures entitled Contrapuntal Forms, which was displayed on London's South Bank. 

Michel DecouxPanther sculpture, circa 1925Patinated bronze, the feline cast with a textured coat, on black slate and marble plinth.30 x 70.5 x 15.2cmEngraved Decoux on base.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

Stefan Dakon for GoldscheiderFigural sculpture, model no. 6214, circa 1930Glazed earthenware.33cm highProduced by Goldscheider, Vienna, Austria. Underside with incised model number 6214 127 11, impressed and printed factory marks, and artist's facsimile signature.Footnotes:LiteratureOra Pinhas, Goldscheider, Richard Dennis, 2006, p. 152For further information on this lot please visit Bonhams.com

Flavio PoliShell-form sculpture, circa 1940Iridescent coloured glass.12.4 x 20 x 13.2cmProduced by Seguso Vetri d'Arte, Murano, Italy.For further information on this lot please visit Bonhams.com

Mark V. Marshall for Doulton LambethRare and impressive 'Seahorse' sculpture, 1902-1912Salt-glazed stoneware, white-ish brown glaze tones.65cm x 54cmImpressed with Royal Doulton Lion and Crown mark (introduced in 1902) and incised artist's monogram M.V.M.Footnotes:It is possible that this sculpture was conceived and/or made around 1902-1903 as Mark Marshall exhibited similar work at the St. Louis International Exhibition in 1904, where he won a bronze medal. ProvenancePrivate collection, UKLiteratureF.J.Blacker, The ABC of English Salt-Glaze Stoneware; From Dwight to Doulton, Stanley Paul & Co., 1922, p. 172For further information on this lot please visit Bonhams.com

Joseph Csaky'Adam and Eve' sculpture, (second version), designed circa 1932, posthumous castBronze. 29.5 x 17.6 x 11.2cmBase incised CSAKY. Together with a certificate of authenticity from the Comité Csaky.Footnotes:ProvenanceGordon House Estate, United KingdomAcquired from the above by the present owner, 2005LiteratureGalerie René Reichard, Joseph Csaky, exh. cat., Frankfurt, 1988, p. 54Félix Marcilhac, Joseph Csaky: du cubisme historique à la figuration réaliste: catalogue raisonné des sculptures, Paris, 2007, pp. 159, 357This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Marcello FantoniAbstract sculpture, 1980Glazed ceramic, painted metal base. 38.6 x 38.6 x 8.4cmReverse signed Fantoni/1980 and base signed Fantoni.Footnotes:ProvenanceInherited directly from the artist by the present owner Exhibited'Materia e colore: le opere eterne di Marcello Fantoni', Città Metropolitana di Firenze, Florence, 4-24 May 2015LiteratureSara Garvani, Materia e colore, l'arte di Marcello Fantoni, exh. cat., Città Metropolitana di Firenze, 2015, illustrated pp. 45, 69For further information on this lot please visit Bonhams.com

Western Jin Dynasty, 265-317 A.D. A ceramic standing horse with the hindlegs slightly apart and bent, tail erect, integrally modelled saddle with saddlecloth, bridle ornaments on muzzle and forelock; supplied with a made-to-measure stone base. For a similar example see a sculpture from the Birmingham Museum of Art, accession no.1979.321; cf. Hajeck et al., A Book of Chinese Art, four thousand years of sculpture, painting, bronze, jade, lacquer and porcelain, Spring Books, 1966, item 28, for type. 4.7 kg total, 27 cm including stand (10 5/8 in.). Acquired 1980-1990s. Ex West Country collection. Property of a Bristol, UK, gentleman. The Western Jin pottery horses tend to be modelled on the stocky and short-legged Mongolian breed, unlike their more graceful Han Dynasty predecessors. This type of horse was formerly attributed to the Han period; developments within the field of archaeology have since re-attributed them to the Six Dynasties era (3rd-6th century A.D.)

Ulm, Germany, circa 1520 A.D. A carved limewood scene of the Virgin Mary, infant Jesus and Saint Anne from the workshop of Niklaus Weckmann; to the left, Virgin Mary seated wearing a long crimson robe with a gold mantle around her shoulders and hips, and a white band disappearing beneath her copious auburn hair; Saint Anne seated to the right, wearing a white veil and wimple with yellow linear detailing, russet-tan robe over a cream-white undershift visible at the sleeves, sky-blue mantle wrapped around her lower body; infant Jesus naked standing between the two females in lively pose with arms spread wide. See Sismann, G., Sculptures Européens & Objects d’Art, Paris, 2012, for similar; Preising, D., A Neo-Gothic Carver’s Collection of Gothic Sculptures, meaning and function, Aachen, 2018, no.13; on the work of Weckmann see Württembergischen Landesmuseum Stuttgart, Meisterwerke massenhaft. Die Bildhauerwerkstatt des Niklaus Weckmann und die Malerei in Ulm um 1500, Stuttgart, 1993. 26.75 kg, 90.5 cm wide (35 5/8 in.). with Christie's, France, 16 June 2016, lot 10. Ex central London gallery. Accompanied by an academic report by Dr Raffaele D’Amato. Niklaus Weckmann was a sculptor and woodcarver who was active in Ulm between 1481 and 1526. He produced a number of remarkable carved altarpieces and other religious sculpture and his workshop was one of the largest in Ulm. Weckmann's output had been attributed to Jörg Syrlin the Younger (c.1455-1523) until restoration work on the statue of St Stephen of Gundelfingen revealed his signature and the date 1528. Originally placed in the centre of an altarpiece, this important composition of three characters had to be surrounded by painted and sculpted scenes around the iconography of ‘Trinitarian Saint Anne’. This subject was very much in vogue at the end of the 15th century. The timber shows some old insect flight holes and we are advised that this piece has been recently treated with Permethrin, as a precaution. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

16th century A.D. A carved hardwood statue on a separate gilded stand; the figure of Mary with flowing hair bound within a tight cap, A-line robe secured by a filet beneath the bust; mantle draped from the shoulders with securing cords on the upper chest and holding a bunch of flower under her left arm; infant Jesus held at the right hip, one foot supported by the left hand held across the body; later gilded stand with octagonal top, segmented panels with applied gesso finish and moulded foliage motifs; scrolled feet beneath. Cf. Sismann, G., Sculptures Européennes & Objets d’Art, Paris, 2012, fig.12; Bertoni Cren, N., ‘Entourage de Jean de la Huerta: la sculpture sur bois du Maitre de Neublans’ in Travaux 2016 [de la Société d’émulation du Jura], Lons-le-Saunier, 2017, pp. 55-66, fig.13. 139 kg total, 1.55 m high (2.21 m high including stand) (61 in. (87 in.)). French collection, 1990s-early 2000s. Ex Ogotai Auctions, Brussels, Belgium, 22 January 2016, lot 10. From an important Paris gallery, France. Ex private Paris collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no 114461-195310. The wooden sculpture probably once decorated a private aristocratic chapel in a church, and is enhanced by the elaborate, vivid drapery and by the delicate features and expressions of the Virgin and Child. The tenderness with which Mary holds her child and her refinement are expression of mother's love towards her son. The flowers in her hand are also symbolically linked to Mary, as she was considered to be the most beautiful of all the flowers. [A video of this lot is available to view on Timeline Auctions Website.]

Probably Italy, 14th century A.D. A carved marble fragment depicting a bearded male head in profile left, possibly Saint Peter, modelled in three-quarter view with tousled hair and a sturdy neck. Cf. Pisano's famous sculpture Head of a Bearded Man is now in the National Gallery of Denmark, Copenhagen. 1.73 kg total, 18.5 cm high including stand (7 1/4 in.). From the collection of Altounian-Rousset (1890-1954). with Artcurial, 18 September 2019, lot 124. Ex central London gallery. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no 114465-196256. Giovanni Pisano (c.1250- c.1315) was a sculptor, painter and architect, who was active in Pisa, Siena and Pistoia, Italy. He is known for his sculpture which recalls aspects of classical Roman figure-work. [No Reserve]

12th-13th century A.D. A carved sandstone corbel with Romanesque bust of a woman to the inner face, with centre-parted straight hair, large round eyes, slightly downturned mouth evoking a mournful expression; keyed to the rear face and with a securing slot to the rear of the upper face; mounted on a custom-made display stand. See Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997, for discussion. 9.9 kg total, 33 cm high including stand (13 in.). Acquired Howard Neville, Kent, 2002. Property of a Kent collector. [No Reserve]

Loire Valley, France, circa 1500 A.D. A stone statue depicting the Virgin Mary seated with the (now acephalous) infant Christ seated on her proper right knee, the boy assisting his mother to hold open the pages of a book, likely the Bible, to a specific page, his right hand tenderly supporting her extended left hand from below, carved in the round with naturalistic anatomical detailing to each figure and their garments; the later replacement crown has been removed; traces of polychrome pigment. Cf. for examples the sculpture of the Virgin with child of late century 15th century A.D in Wixom, W., The Metropolitan Museum of Art Bulletin, Medieval Sculpture at the cloisters, Volume XLVI, no.3, New York, 1988/89, pp.5-6; Forsyth, W., The Pieta in French Late Gothic Sculpture: Regional Variations,New York, 1995; Fogg, S., 30 Heads, stone heads from the 12th to the 15th century, London, 2018, pp.86ff. 112 kg, 80 cm high (31 1/2 in.). with Christie's, France, 8 November 2013, lot 36. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no 11539-196243. The Virgin and Child represent one of the most frequent subjects in the Gothic medieval sculpture, due to the development of the cult of the Virgin and the increase in the veneration of Mary. These carvings were not limited to churches, but were also found in shrines, entrances to towns, and inside private chapels. The long wavy hair, the rounded forehead, the almond-shaped eyes and the delicate smile are widespread stylistic features found in several regions among Germany and France (in particular Lorraine, Burgundy, Île-de-France, Loire Valley, Bourbonnais, Meuse Valley). [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

Circa 5th-4th century B.C. A substantial terracotta panther sculpture, the animal standing alert and with head turned upwards to left, its tail curled underneath to right; head, front legs and paws well-detailed; traces of polychrome pigment; hollow interior; partially reconstructed. Cf. Torelli, M., Gli Etruschi, Cinisello Balsamo, 2000, p.637, no.328, for similar examples. 5 kg, 40 cm high (15 3/4 in.). Acquired on the European art market. German private collection formed in the 1970s. Acquired in the 2000s from Herakles Numismatik und Antiquita?ten GmbH, Munich. Ex English private collection. with Bertolami Fine Art, London, 24 March 2017, lot 10. Michael Bianco, California, U.S.A., collection. Private Australian collection with collection number 20.12. Accompanied by an illustrated two page collector's cataloguing document. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114481-196374. This sculpture could possibly have been a part of a larger cultic sculpture group, perhaps related to Dionysus, possibly being the decorative side (with its parallel) of a cultic throne, for which the present sculpture would have served as an armrest. The possibility that the terracotta is Hellenistic is suggested by its parallels with the so-called ‘Throne of the Panthers’, preserved at the Museo Rocca Monaldeschi della Cervara, Bolsena (inv.2081). The throne comprises a square plinth supporting the seat and a semi-circular back with zoomorphic and vegetal decoration, with two panthers in a guard position to the sides. [For this specific lot, 5% import VAT is applicable on the hammer price]

2nd century A.D. A colossal Roman white marble head section copied from an original Greek Hellenistic model, roughly comprising the left half of the face of a mature male figure, showing naturalistic musculature around his eye and to his cheek, his face with a smooth over-all texture, albeit with a wrinkle at the corner of the eye and to the forehead; modelled with a full beard and shoulder-length hair; mounted on a custom-made display stand. See Aurenhammer, M. (ed.), Sculpture in Roman Asia Minor, Proceedings of the International Conference at Selçuk, 1st-3rd October 2013; D'Andria, F., Romeo, I. (ed.), Roman sculpture in Asia Minor : Proceedings of the International conference to celebrate the 50th anniversary of the Italian excavations at Hierapolis in Phrygia, held on May 24-26, 2007, in Cavallino (Lecce), JRA Supplementary series, 80, Portsmouth, RI: Journal of Roman Archaeology, 2011. 27.6 kg total, 60 cm high including stand (23 5/8 in.). From an old English collection. Ex Vermot and Associates, Paris, France, 2020, lot 32. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an academic report by Prof. Neritan Ceka. Accompanied by scholarly note TL05455 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114482-195296. The deepening of the strong scaling in the part under the chin, where the neck should continue, proves that the head was made separately, to be placed on a wooden body, in the form of sculptures called acroliths, where only the head and extremities were worked in marble. At a harmonious ratio of 1:8 between the height of the man's head and the whole body, the original height of the sculpture must have been about 4 meters. The chiselling technique, the detailing of the face and eyes, and the style of drilling of the hair and beard, affirms the portrait to have been copied from a Hellenistic model and realised in the first half of the 2nd century BC. The lack of detail to the eyeball with the line of the cornea and the pupil shows that the artist wanted to honour the Hellenistic original, but the common use of the drill for the deep lines of the chin and hair, place the sculpture in the Antonine period, similar to the colossal sculpture of Jupiter Otricoli in the Museo Pio Clementino at the Vatican.

Circa 140 A.D. A high-quality emerald (green beryl) intaglio portrait of Marcus Aurelius as a young man, in profile left; the military cloak (paludamentum) in connection with the extreme youth of the subject suggesting that the portrait is not a private one, but must be of an imperial prince; the style of the carving and hairstyle of the subject clearly belong in the Antonine era; the material too suggests an imperial subject: the stone, hard, brittle and very difficult to carve, was highly prestigious in such large sizes; Roman examples of such portraits in emerald or aquamarine are very rare and usually represent members of the imperial family; the cabochon set into a contemporary gold finger ring comprising a flat-section hoop with granules to the shoulders and an ellipsoid bezel. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 367, for ring type; also for ring/bezel shape Koch coll. no.349 (2nd-3rd century); and for the bezel see Marshall, F. H., Catalogue of the Finger Rings, Greek, Etruscan, and Roman, in the British Museum, 1907, 87, no.509. 5.92 grams, 26.22 mm overall, 17.48 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). Acquired 1970-1990. Ex property of a deceased lady. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114493-195583. Dr Ittai Gradel writes: 'The portrait in all likelihood represents Marcus Aurelius as a young prince and heir to the imperial throne, c. AD 140. The only possible alternative would appear to be his son Commodus as a youth, c. 175 AD. Like young Marcus, Commodus’ youth portrait is well known from coins (and sculpture). Young Commodus’ hair is rather less curly, however, his neck thinner and his whole appearance rather more delicate and effete than the youth portraits of his father, which seem to fit the gem image better; further, the split in the hair fringe on the forehead seems a deliberate attempt to reproduce he characteristic hair parting in the same location in young Marcus’ main (only) sculptural portrait type. Though a close call, Marcus rather than Commodus should therefore be the subject here.' [A video of this lot is available to view on Timeline Auctions Website.]

Beckensall (S.) Northumberland's Pre Historic Rock Carvings: A Mystery Explained, lge. 8vo, printed morocco, illus., Pendulum Publications, Rothbury 1983 (two copies in variant but similar bindings); Cramp (Rosemary) Anglo-Saxon Stone Sculpture In England: Vol. 2 Cumberland, Westmorland, etc., 4to, cloth, illus., Oxford University Press, 1988; Sitwell (William) Stones of Northumberland and Other Lands, 8vo, cloth, illus., Newcastle 1930, sundry transactions of the Architectural and Archaeological Society of Durham and Northumberland; and other books and publications on Ancient Northumbrian Archaeology.

A mid-20th century Benin-style bronze sculpture cast as a female head, 56cm high.

A Modern Art Sculpture of Female Gymnast, 64cms High

Durham Cathedral sculpture, inlaid mother of pearl games box, Noritake Ireland porcelain, Maling, Royal Worcester and Royal Doulton Platinum tablewares, etc.

SIEGFRIED CHAROUX* (Wien 1896 - 1967 London)Männlicher AktTusche/Papier, 25,5 x 20,2 cmProvenienz: Nachlass des Künstlers, Dipl. Ing. Erich Gusel, Privatbesitz WienSCHÄTZPREIS °€ 400 - 800STARTPREIS € °€ 400Siegfried Buchta, bzw. Siegfried Charoux, war ein österreichisch-britischer Bildhauer, Maler, Zeichner und Karikaturist. Während des Weltkrieges unternahm er erste bildhauerische Versuche und schloss Bekanntschaft mit den Malern Robin Christian Andersen, Eugen Sturm-Skrla und Johann Kodanich, später mit Gustav Schütt und Broncia Koller-Pinell. Charoux wandte sich 1919 ganz der Bildhauerei zu und begann ein Privatstudium bei Josef Heu; 1922 – 1924 studierte er an der Akademie der bildenden Künste in Wien bei Hans Bitterlich. 1923 – 1928 betätigte sich Charoux als politischer Karikaturist bei der Arbeiter-Zeitung und anderen linken und linksliberalen Blättern. Mit einem nicht erhaltenen Entwurf für ein Robert-Blum-Denkmal debütierte er auf der Kunstschau 1927. 1935 wurde Charoux' Denkmal für Gotthold Ephraim Lessing  am Wiener Judenplatz enthüllt. 1935 emigrierte Charoux nach London. 1940 wurde er auf der Isle of Man interniert. Seit 1946 britischer Staatsbürger, wurde er 1949 Associate of the Royal Academy (A.R.A.) und 1956 Vollmitglied (R.A.). Er unterrichtete an der Royal Academy Sculpture School und erhielt etliche öffentliche Aufträge in Großbritannien und Österreich. In Charoux‘ malerischem Werk dominieren in den frühen und mittleren Schaffensperioden Aquarelle und Deckfarbenbilder. Gegen Ende der Fünfzigerjahre experimentiert er verstärkt mit Acryl. Bevorzugte Themen sind Stillleben, Landschaften (insbesondere Cornwall, Gastein), Musik sowie Studien zu seinem plastischen Schaffen. In seinem umfangreichen zeichnerischen Werk überwiegen Figurenstudien sowie Denkmalentwürfe.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

Various wooden letters, each approx 18cm high, driftwood sculpture, hanging baskets, storage containers, various sizes, etc. (a quantity) Note: VAT is payable on the hammer price of this lot at 20%.

A bleached teak wood sculpture or table, 67cm high, the top 110cm x 110cm. Note: VAT is payable on the hammer price of this lot at 20%.

A group of treen, to include a coconut bowl, 41cm diameter, a painted pedestal dish, 22cm high, wooden cactus sculpture, etc. (a quantity) Note: VAT is payable on the hammer price of this lot at 20%.

A large decorative wooden sculpture of a horse's head. Approx. 90cm tall including base.

An art glass sculpture, signed to base MG/RLC90 2012 K122

Bronze sculpture of a horse on marble plinth, signed Mene, L34 x H32cm

Bronze sculpture of a Boxer dog, signed Mene, on a metal base, 26.5 x 25cm

A silver lustred terracotta sculpture in the style of B. Hepworth,59cms high

Dame Elisabeth Frink RA (1930-1993) 'Catalogue Raisonné: Sculpture'published by Harpvale Books, Wiltshire, 1984, standard cloth bound edition31 x 28.5cmThis catalogue raisonné documents Frink's sculpture from her student works in the late 1940s until 1984. Major works are explored in detail and the book includes colour images taken by Jorge Lewinski and selected by Frink.Condition ReportBook spine has come loose, some staining to inside cover/first page, otherwise in good order.

Am Afifi (born 1949) - bronze patinated resin sculpture - Seated female nude - 'In the Mind', inscribed & dated in pen to the wooden base, 15" high.

A small white finished bronze horse sculpture - 'Marmite', 5.8" across.

Jeff KOONS (1955), dans le goût de -Editions StudioBalloon Dog, BlueSculpture en résine D'une édition limitée à 999 exemplaires 30 x 30 x 12 cm*Vendu sur désignation

Emile de BLOCK (1941)Nu fémininSculpture en granitSigné au dosH : 83 cm

Sculpture composée d'une base en cristal de roche décorée d'un coquillage en bronze doré et d'un crabe en métal argenté Signé et numéroté sur une plaque au dos 10 x 14 x 9 cm

Michel SERRAZ (1925)Nu féminin allongé - 1958Sculpture en bronzeSigné et numéroté 5/8 dessousL : 60 cm

CRIOVase sculpture en verre soufflé en forme d'ampoule rose moucheté de jaune - 1982Signé et daté dessousH : 19 cm

Yvon LE BELLEC (1924-2017)Sculpture en métal peint. Signé et daté 2011170 x 60 cm* Vendu sur désignation

Gérard BOUDON (1946-2011)PoissonSculpture en bronze à patine vert foncéSigné et numéroté 2/8 à la base, cachet de fondeur33 x 36 x 6 cm

Albéric COLLIN (1886-1962)La lionneSculpture en bronze à patine brune42 x 80 x 24 cm Note : Albéric Collin est un célèbre sculpteur animalier belge. Il fait partie du groupe d'Anvers. Il fut ami avec Rembrandt Bugatti. Il obtint une médaille de bronze au Salon des artistes français de 1922.

Albéric COLLIN (1886-1962)Ours brunSculpture en bronze à patine brune, « Cire perdue »Signé et cachet de fondeur sur la terrasse50 x 56 x 26 cmNote : Albéric Collin est un célèbre sculpteur animalier belge. Il fait partie du groupe d'Anvers. Il fut ami avec Rembrandt Bugatti. Il obtint une médaille de bronze au Salon des artistes français de 1922.

Sculpture en marbre figurant une « Femme recroquevillée », non signée, sur un socle en bois noirci 29 x 37 x 30 cm

Xavier CARRERE (1966)Sculpture en terre et verreSigné à la base32 x 29 x 11 cm

Jos DE DECKER (1912-2000)« Femme assise »Sculpture en bronze à patine vert foncéSigné et numéroté 4/12 à la base. Cachet de fondeur DE GROEVE en Belgique.40 x 20 x 29 cm

Marc Chagall (1887 Witebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', Farblithografie auf Velin, 1952, 68 cm x 49,5 cm Plattenmaß, 74,5 cm x 53,5 cm Passepartoutinnenmaß, signiert, Epreuves d'artiste nummeriert, im Druck signiert, 1949 datiert, leicht gewellt, leicht gebräunt, Literatur: Wvz. Solier VI, CS 4.Bereits um 1910-1914 löste sich Marc Chagall während seines Parisaufenthaltes vom Impressionismus, den er an der St. Petersburger Akademie erlernte. Dabei integrierte er Stilmerkmale des gerade durch Pablo Picasso und Georges Braque aufkommenden Kubismus und farbstarken Fauvismus in seiner Malerei. Nach Russland zurückgekehrt entwickelte Marc Chagall seinen eigenen Stil aus Elementen der russischen Volkskunst und der jüdisch-religiösen Erlebniswelt seiner Kindheit. Über Berlin emigrierte der Künstler nach Paris, wo er von 1920 an lebte und arbeitete. Das Werk Chagalls ist durch farbenprächtige Zusammenfügung symbolischer Bildmotive geprägt. Neben Gemälden fertigte er ein umfangreiches grafisches Oeuvre an und gestaltete Glasfensterentwürfe ebenso wie Keramik und Plastik. Ab 1950 lebte der Künstler in Vence, das über Nizza lediglich ca. 30 Kilometer von der Gemeinde Saint-Jean-Cap-Ferrat an der Côte d'Azur entfernt liegt und diese Farblithografie betitelt.Marc Chagall (1887 Vitebsk - 1985 Paul de Vence) (F)'Saint-Jean-Cap-Ferrat', colour lithograph on Velin, 1952, 68 cm x 49.5 cm panel dimension, 74.5 cm x 53.5 cm inner passepartout dimension, signed, Epreuves d'artiste numbered, signed in print, dated 1949, slightly wavy, slightly browned paper, literature: WVZ. Solier VI, CS 4.As early as around 1910-1914, Marc Chagall broke away from Impressionism, which he had learned at the St. Petersburg Academy, during his stay in Paris. In the process, he integrated stylistic features of Cubism and colourful Fauvism, which were just emerging through Pablo Picasso and Georges Braque, into his painting. After returning to Russia, Marc Chagall developed his own style from elements of Russian folk art and the Jewish religious experience of his childhood. Via Berlin, the artist emigrated to Paris, where he lived and worked from 1920 onwards. Chagall's work is characterised by a colourful combination of symbolic pictorial motifs. In addition to paintings, he produced an extensive graphic oeuvre and designed stained glass windows as well as ceramics and sculpture. From 1950 onwards, the artist lived in Vence, which is only about 30 kilometres from the municipality of Saint-Jean-Cap-Ferrat on the Côte d'Azur via Nice and which is the title of this colour lithograph.

Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Menorah', Bronze, gold patiniert, auf Marmorsockel, Maße 51 cm x 32 cm x 13 cm, im Guss signiert, 1980 datiert, 112/250 nummeriert, mit Copyright David Modai versehen, partiell Grünspan, Literatur: Wvz. Descharnes 688, mit Abb. S. 268.1948 wurde der Staat Israel gegründet, zu dieser Zeit war Salvador Dali bereits ein bekannter Künstler. Er stand der jüdischen Kultur nahe und war stets von dessen Geschichte beeindruckt. So war ihm sicherlich bewusst, dass der siebenarmige Leuchter einer der bedeutenden religiösen Symbole des Judentums ist. Genannt wird die Skulptur 'Menorat Hashalom', was übersetzt 'Das Licht des Friedens' bedeutet. Vor dem Eingang des israelischen Flughafens Ben Gurion ist sie mit 5 Metern Höhe als Monument aufgestellt. Auf dem Leuchter stehen die hebräischen Worte für Heldentum, Frieden, Unendlichkeit, Stärke, innere Größe und Weisheit geschrieben. Die wesentlich kleinere und nummerierte Gestaltung in Bronze, folgt eben diesem Beispiel des künstlerischen Monuments. Sodass eben jenes 'Licht des Friedens' im eigenen Heim leuchten kann oder zumindest an die menschlichen Werte erinnert.Salvador Dalí (1904 Figueres/Spain - 1989 ibid.) (F)'Menorah', 1980, bronze, gold patina, on marble base, dimensions 51 cm x 32 cm x 13 cm, signed in the casting, dated 1980, numbered 112/250, copyright David Modai, partial verdigris, literature: Wvz. Descharnes 688, with ill. p. 268.In 1948 the state of Israel was founded, at that time Salvador Dali was already a well-known artist. He was close to Jewish culture and was always impressed by its history. He was certainly aware that the seven-branched candelabrum is one of the most important religious symbols of Judaism. The sculpture is called 'Menorat Hashalom', which translates as 'The Light of Peace'. In front of the entrance to Israel's Ben Gurion Airport, it stands 5 metres high as a monument. Written on the candelabrum are the Hebrew words for heroism, peace, infinity, strength, inner greatness and wisdom. The much smaller and numbered bronze version follows this example of an artistic monument. So that the 'light of peace' can shine in your own home or at least remind you of human values.

Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Alice im Wunderland', 1977, Bronze, teils poliert, teils grün patiniert, Maße 92,5 cm x 45 cm x 20 cm, im Guss signiert, 35/350 nummeriert, Gießerstempel venturi arte, Stempel des Herausgebers 'Jemelton', Rückstände eines Aufklebers, partiell leichte Korrosionsspuren, Literatur: Wvz. Descharnes 624, mit Abb. S. 243.Die weltbekannte Geschichte von "Alice im Wunderland", wurde vom britischen Schriftsteller Lewis Caroll als Kinderbuch verfasst und erschien erstmals 1845. Sie inspiriert Salvador Dali in Aquarellen, Zeichnungen, Gemälde, Druckgrafiken und Skulpturen, wie unserer in Bronze gegossenen Figur. Die Skulptur, die Alice Seil springend zeigt, wird ergänzt durch die in seinen Werken häufig präsente Stützkrücke. Angelehnt an Ovids Metamorphosen, in der sich Daphne in einen Lorbeerbaum verwandelt, scheint der Künstler hier einen Moment einzufangen, in der sich die Figur der Alice verändert: Kopf und Hände werden von floralen Formen geradezu überwuchert. Selbst die grünliche Verfärbung am Rock der Figur, die bei einer Bronze durchaus auftreten kann, wird durch die Patina verstärkt und trägt zur beschriebenen Wirkung bei. So scheint die auf den ersten Blick fröhliche und lebenslustige Darstellung eine schaurige Wendung zu erhalten. Die traumhaften Bildvisionen bilden das surrealistische Werk, wofür Salvador Dali so bekannt ist. Nach dem Studium an der Akademie in Madrid orientiert er sich an Einflüssen der pittura metafisica und der Psychoanalyse nach Sigmund Freud. Der spanische Künstler reist nach Paris, und schloss sich dort der surrealistischen Bewegung an, deren Hauptvertreter er wurde.Salvador Dalí (1904 Figueres/Spain - 1989 ibid.) (F)'Alice in Wonderland', 1977, bronze, partly polished, partly green patinated, dimensions 92,5 cm x 45 cm x 20 cm, signed in the casting, numbered 35/350, with foundry stamp venturi arte, publisher's stamp 'Jemelton', residues of a sticker, partly slight traces of corrosion, literature: Wvz. Descharnes 624, with ill. p. 243.The world-famous story of ''Alice in Wonderland'', was written as a children's book by the British writer Lewis Caroll and first published in 1845, inspiring Salvador Dali in watercolours, drawings, paintings, prints and sculptures, such as our figure cast in bronze. The sculpture, which shows Alice jumping rope, is complemented by the crutch often present in his works. Inspired by Ovid's Metamorphoses, in which Daphne transforms into a laurel tree, the artist here seems to capture a moment in which the figure of Alice changes: The head and hands are virtually overgrown by floral forms. Even the greenish discolouration on the figure's skirt, which can certainly occur in a bronze, is intensified by the patina and contributes to the effect described. Thus, the depiction, which at first glance seems cheerful and full of life, seems to take on an eerie twist. The dreamlike pictorial visions form the surrealist work for which Salvador Dali is so well known. After studying at the Academy in Madrid, he orientated himself on influences of the pittura metafisica and psychoanalysis according to Sigmund Freud. The Spanish artist travelled to Paris, and there joined the Surrealist movement, of which he became the main representative.

Walter Awlson (Scottish b.1949) bisque stoneware sculpture of a Kirsty, modelled seated on a rock, with WA 96 monogram, 57/65, 35cm tall

Miniature bronze head sculpture, apparently unsigned, 6.5cm tall

Etienne DESMET (1943)'Les amoureux I' Silver sculpture on marble base, signed and numbered 1/3.Added copy without pedestal.'Les amoureux I' Zilver sculptuur op marmeren sokkel, getekend en genummerd 1/3.Toegevoegd exemplaar zonder sokkel.7 x 20 x 8 cm

Johan DE WITStill life.Sculpture Paper / resins / pigment & iron powder, signed and dated 2021.Stilleven.Sculptuur Papier / harsen / pigment & ijzerpoeder, getekend en gedateerd 2021.42.5 x 36 x 10.5 cm Benefietveiling ten voordele van het Project Gentbrugse MeersenOpbrengst 100% voor het project

Bronze sculpture monogram JV attributed Julien VermaerckeBronzen sculptuur monogram JV toegeschreven aan Julien VermaerckeH 14.5 cm

Sofie MULLER (1974)Movement of the heart.Sculpture patinated bronze.Movement of the heart.Sculptuur gepatineerd brons.14.5 x 11 x 9 cm Benefietveiling ten voordele van het Project Gentbrugse MeersenOpbrengst 100% voor het project

Stief DESMET (1973)Hephaistos' Arrow (2022).Bronze wall sculpture with brass wall mount.Hephaistos' Arrow (2022).Bronzen wandsculptuur met messing wandbevestiging.L 53 cm Benefietveiling ten voordele van het Project Gentbrugse Meersen

Frédéric MINNE (1907-1978)Stone sculpture Mother and child, signed.Stenen sculpture Moeder en kind, getekend.H 54.5 cm

Wooden sculpture of 2 amours and flower with glass inkwell, Austria ca 1900Houten sculptuur van 2 amourtjes en bloem met glazen inktpot, Oostenrijk ca 190019 x 30 x 24.5 cm

Etienne DESMET (1943)ENERGY.Bronze sculpture, signed and numbered 2/8added book Etienne Desmet sculptures Lannoo.ENERGY.Bronzen sculptuur, getekend en genummerd 2/8toegevoegd boek Etienne Desmet sculpturen Lannoo.43 x 32 x 16 cm Benefietveiling ten voordele van het Project Gentbrugse Meersen

Biscuit group of Venus with putti and nymphs, model by Simon Louis Boizot (1743 - 1809) from the year 1780. Probably Sèvres. In glass dome, base with marquetry.Biscuit groepje van Venus met putti en nimfen, model van Simon Louis Boizot (1743 - 1809) uit het jaar 1780. Waarschijnlijk Sèvres. In glazen stolp, voet met marqueterie.H 63 cm (total) - H 37 cm (the sculpture)

Hippolyte François MOREAU (1832-1927)A biscuit sculpture of a young girl with a child, signed H MoreauBeeld in biscuit van jong meisje met kind, getekend H MoreauH 59.5 cm

Rare Boch Keramis sculpture "La Dance Moderne" in gris celiste, design Charles Catteau, 20th centuryZeldzame Boch Keramis sculptuur "La Dance Moderne" in gris celiste, ontwerp Charles Catteau, 20e eeuw