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NEIL DALRYMPLE STONEWARE SCULPTURE PLATTER OF A SALMON - 58.5cms L, incised signature in full with date 1993

GOTHIC ROSE,early 20th century, a Continental handmade wrought ironwork sculpture, modelled as three stages of a rose, from an emerging bud to decayed, unsigned, 17 x 19cmCondition report: With some rusting throughout.

THE BOTANIST, a taxidermy sculpture based around an anthropomorphic stoat, scientific name Mustela erminea, in a foraging garden, set under a Victorian-style dome,31cm high

*LIVIO SEGUSO (Italian, b.1930),'Embryo', 1978, a Murano glass sculpture, of ovoid form with an iridescent inclusion of a foetus, etched 'Livio Seguso' and dated 78 to the base,32cm high*Artist's Resale Right may apply to this lot.Condition report: Some scratches and marks occurring to the underneath.

ESOTERIC STILL LIFEearly 20th century, an esoteric study of a religious shrine, the foreground with a parrot and offerings of fruit, the background with a deity sculpture surmounted with an owlindistinctly signed '... Wellers' u.l., oil on canvas83 x 55cm

GOLDEN COCK,1960s, a large golden resin cockerel, probably an advertising sculpture for Courage Beer and originally mounted outside a public house,65cm highCondition report: Minor scratches and marks to the gold paint,45cm wide.

THE LION KING,a modern painted fibreglass sculpture, modelled as Timon from Disney's 'The Lion King', likely a former promotional prop, 81cm highCondition report: Both arms with mended breaks. Scuffs and wear to the paint job.

Murano Arte 80 glass sculpture

OF COLLECTORS' INTEREST: A late George II carved mahogany drop-leaf table1755-1760, the oval top above a plain arched frieze, on opposing C-scroll, rocaille and acanthus clasped cabriole legs with foliate scrolled ears, terminating in claw and ball feet, 54cm wide x 116cm deep x 74cm high, (21in wide x 45 1/2in deep x 29in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. The offered drop-leaf table is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. III, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 26, p. 220. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1750.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A William and Mary walnut, oyster veneered and sycamore banded chest1690-1705, the top with an ovolo edge and inlaid with concentric roundels and pollard oak, flanked by two circular tablets and quarter spandrels, above two short and three long graduated oak-lined drawers, on later (probably 18th century) bracket feet, 96cm wide x 59cm deep x 92cm high, (37 1/2in wide x 23in deep x 36in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Significantly, the offered chest is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 29, p. 40. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1715, although it perhaps more accurately belongs to a slightly earlier era which is essentially 1690-1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than no... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A Regency mahogany Pembroke tableThe top with a reeded edge above one frieze drawer, on ring turned tapering legs terminating in castors, 53cm wide x 87cm deep x 73cm high, (20 1/2in wide x 34in deep x 28 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A George II painted pine dummy board1720-1750, the shaped board decorated with an elegantly attired young lady holding a fan in one hand, later reduced in height, 94cm high.Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A late George II carved mahogany concertina-action card table1755-1760, the hinged crossbanded top enclosing a baize playing surface, above one mahogany-lined frieze drawer, on four scallop shell and bellflower clasped cabriole legs each carved with C-scroll ears and scrolled foliate spandrels, 87cm wide x 42cm deep x 71cm high, (34in wide x 16 1/2in deep x 27 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. ... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Iohannes Haughton (probably John Houghton, Irish, fl. 1741-1775): A mid 18th century sculpted white marble bust of Jonathan Swiftthe sitter looking to dexter wearing a cap over his curling long hair, his shoulders clad in drapery over an open chemise, mounted on a moulded square plate and plain square tablet socle inscribed SWIFT, and a further plain square tablet signed Iohannes Haughton Sculpt:, the whole raised on a later black painted composition and wood column pedestal and moulded square base, the bust, socle and signed square tablet, 84cm high, the pedestal, 134cm high (2)Footnotes:Please note that Robert Swift was the great great grandson of Jonathan Swift's uncle (Godwin Swift,1627-1695) and it was Godwin Swift who raised Jonathan when his own father died prematurely.ProvenanceRobert Swift Esq. (d. 1842), great great grandson of Jonathan Swift's uncle Godwin Swift, 1627-1695 who raised the writer when his own father died prematurely. By repute displayed at the Swift ancestral home, Swiftsheath, Kilkenny, Ireland. Presented in 1847 to Godwin Swift Esq., cousin of Robert Swift.Thence by descent to Godwin Swift Esq., grandfather of the present owner and author of a handwritten family record (one of a several) compiled between 1928 and 1940, whereby the bust is mentioned, possibly (by family tradition) via a George Swifte Ewbank Briggs Esq., who apparently also resided at the family home, Swiftsheath, until 1971. Thence by descent to the present vendor. Mention of the history of this bust and its sculptor John Houghton is made in the hand written family records of Godwin Swift, grandfather of the present vendor, where it can be traced back to his ancestor Robert Swift, who graduated from Trinity College Dublin in 1776, was married in 1781 and died in 1842. In these records a suggestion is also made that Houghton's bust may have been derived from the plaster death mask taken from Swift at his passing. However, it is likely further archive research on the subject may bring something more conclusive to light. Copies of the relevant pages of the family records are available on request and can be viewed online at www.bonhams.com. The attribution to the Irish sculptor John Houghton relates to the name Iohannes, which is the Greek translation of Johannes, itself a translation of John and the Irish surname Haughton, which is derived from its English equivalent, Houghton.John Houghton is recorded in 'A Dictionary of Irish Artists' published in 1913 with the apparent following listing:'A clever artist working in Dublin in the middle of the eighteenth century, principally as a woodcarver. In 1741 the Dublin Society awarded him a premium of fifteen pounds for the best piece of sculpture submitted to them; and in 1742 twenty pounds for another piece, 'St Paul Preaching at Athens' after Raphael's cartoon. This, wood panel is now at Curraghmore, Co. Waterford.Houghton did the carved oak frame for Bindon's portrait of Swift in the Deanery house, St Patricks, and also collaborated with David Sheehan in the carving of some elaborate church monuments.In 1739, he and John Kelly were paid sixty pounds for work at Carton for the Earl of Kildare, 'the familile arms in ye Pediment in Ardbraccan stone with other decoration of boys, cornicopias, etc' (Account of book at Carton).He was living in Duke Street from about 1761 to 1775, in which latter year he probably died'As John Houghton apparently worked on the carving of a frame for Francis Bindon's portrait of Swift in 1735, which is now in the permanent collection of the National Portrait Gallery, it is possible that he may have decided to record Swift's likeness as a portrait bust around this time. However it is probably more likely that he may have carved the bust to commemorate the great writer and satirist after his death in 1745, possibly after seeing a likeness of the celebrated portrait bust of Swift by Louis Francois Roubiliac (Anglo-French, c. 1705-1762) in 1749 or sometime thereafter.For a similar bust, thought to be Swift and attributed to the Circle of Michael Rysbrack (Flemish, 1694-1770) see Christies, The Murnaghan Collection, 14th October 1991, lot 6.Jonathan Swift (Anglo-Irish, 1667-1745) was a satirist, essayist, political pamphleteer, poet and Anglican cleric who went on to become Dean of St Patrick's Cathedral, Dublin.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Cyrus Edwin Dallin (American, 1861-1944): A rare patinated bronze equestrian figure entitled 'Appeal to the Great Spirit' presented to the Rt. Hon. David Lloyd George whilst visiting the USA in October 1923depicting a Native American Indian (Sioux) chief seated on his horse wearing a feathered headdress and with outstretched arms, raised on a naturalistic rectangular base, signed and dated,C.E.Dallin 1913 and with circled 'C' copyright mark, the end of the base inscribed GORHAM CO FOUNDERS ma OXC, and one side also numbered #122, 22.5cm highFootnotes:Provenance:Presented to the Rt. Hon. David Lloyd George during his trip to the USA in October 1923.Gifted to Frances Louise Stevenson (1888-1972), personal secretary, mistress and confidante to David Lloyd George and later in 1943, Mrs Frances Lloyd George, subsequently Countess Lloyd George of Dwyfor, CBE, after the death of Lloyd George's first wife Dame Margaret in 1941. Thence by descent to Jennifer Longford, née Stevenson (1929-2012), daughter of Frances Stevenson and possibly (now generally assumed) David Lloyd George.Thence by descent to the present owner and vendor in 2012.David Lloyd George:David Lloyd George, 1st Earl Lloyd-George of Dwyfor, OM PC (British, 1863-1945) was a British statesman and Liberal Party politician from Wales who had a long and distinguished political career in Britain. He initially served as Chancellor of Exchequer, later Minister of Munitions and then Minister of War before becoming Prime Minister between 1916 and 1922, when he ousted his then party leader Herbert Asquith. As the last Liberal to serve as Prime Minister, he held the office during the final two years of the First World War and led the British delegation at the 1919 Paris Peace Conference where he was principal negotiator. The conference subsequently saw the signing of 'The Treaty of Versailles' by the 'Big Four' which aside from Lloyd George for Great Britain, included the US President, Woodrow Wilson, the French Prime Minister, George Clemenceau and the Italian Statesmen, Vittorio Emanuele Orlando. However, Lloyd George's tenure as Prime Minister ended in 1922 after the Conservatives withdrew their support from his coalition government. Lloyd George visited the United States and Canada in the autumn of 1923. Accompanied by his wife, Margaret, their youngest daughter, Megan and his private secretary, A. J Sylvester, the purpose of the tour was to personally thank both countries for their help during the Great War and was a resounding international success. A contemporary British Pathe newsreel clip entitled 'Welcome, Lloyd George!' from October 1923 (available to view online), documents the arrival of the Welsh statesmen and politician to great acclaim. It includes footage of the huge street parades that were held in his honour and captions to the silent film include 'Biggest crowds in New York streets since homecoming of US', '(U.S.) Troops greet the 'Wizard of Wales' and 'Bombarded by hundreds of cameramen.'A further contemporary Pathe Gazette newsreel clip from later that month entitled 'In Minneapolis' - 'L.L. G.' meets Sioux Chief - 'Two Eagle' – eagle in peace, eagle in war' (also available to view online) further documents Lloyd George meeting and accepting gifts from the Chief and other elderly statesmen of the Sioux tribe and this can be viewed under 'Ll G Sioux Chief Aka Lloyd George – Sioux Chief (1923)'Lastly a black and white documentary photographic image (available to view online at www.bonhams.com) from this same meeting at Minneapolis illustrates the meeting of Lloyd George and Chief 'Two Eagle' and other members of the Sioux tribe and was used in the New York times, published 23rd October 1923 entitled 'Lloyd George on the warpath: the British War Premier' A possible explanation for why Lloyd George came to visit Minneapolis and why he was presented with the current lot which depicts a Sioux warrior can be confirmed in a historical biography of the Sioux physician Charles Ohiyesa Eastman and his Euro-American wife Elaine Goodale by Gretchen Cassel Eick, entitled 'They Met at Wounded Knee – The Eastmans' story'In the biography, Eick comments that in 1922 the US Secretary of the Interior appointed Charles Eastman to a national advisory 'Committee of One Hundred' to make recommendations to the President on Native American policy. 'The 'Committee of One Hundred' proposed reversing the policy of banning (Native) Indian dances and ceremonies. It recommended providing scholarships to allow (Native) Indians to attend public schools and colleges whilst improving the health conditions on reservations, all positions Charles Eastman advocated'.Eick then pertinently comments 'That year (1923) Eastman organised a reception for David Lloyd George.. who wished to meet some American (Native) Indians. Charles made sure that Lloyd George's wish was more than fulfilled'.Eick then confirms that at the meeting which took place on October 15th 1923 'Eastman led a delegation from the Cheyenne River Reservation to the Madison Hotel, Minneapolis, where they presented the Prime Minister (Lloyd George) with a peace pipe, headdress and an honorary Lakota name. The prime minister's adoption by the tribe was recorded on film, and President Calvin Coolidge wrote to Eastman that it was the most memorable part of Lloyd George's American visit'Cyrus Edwin Dallin: Cyrus Edwin Dallin was an American sculptor who created more than two hundred and sixty works during his career in a variety of subjects and was also an accomplished painter and an Olympic archer. However, he is best remembered for his heroic-scale public tributes in honour of America's indigenous peoples. As a child, Dallin was close to Ute families who lived on the nearby Springville settlement, and he had a deep respect for their culture and history. Because of this he was profoundly disturbed by the crimes he witnessed being perpetrated against them and other native tribes by the US government. As such his sculptures were intended as admiring personal reflections and social and political comments on their resilience in the face of ongoing subjugation. The offered lot of 'Appeal to the Great Spirit' is a reduction of the monumental group located in front of the Museum of Fine Arts, Boston, Massachusetts which is arguably Dallin's most famous work. It was exhibited at the National Sculpture Society in 1908 and awarded a gold medal at the Paris Salon of 1909 before being finally unveiled in Boston in 1912. Dallin confirmed that the piece depicted a mounted Sioux chief engaged in prayer with a higher power after defeat by the U.S. Army, commenting that he had captured the moment when the chief had made his'final appeal to the Great Spirit' after 'his signal of peace...had been rejected'. It was the fourth and final work in a series of equestrian sculptures that Dallin completed between 1890 and 1909 which he collectively called 'The Epic of the Indian'. In the first quarter of the twentieth century over four hundred authorised small-scale bronze casts of 'Appeal to the Great Spirit' were produced in three different sizes, this cast being the smallest size. Literature:Frances Lloyd George 'The Years That Are Past', Hutchinson, 1967Roy Hattersley 'The Great Outsider David Lloyd George', Little Brown Book Group, 2012For details of Lloyd George's visit to the USA and meeting with elders of the Sioux tribe in Minneapolis, see the following historical biography of Sioux physician Charles Ohiyesa Eastman:Gretchen Cassel Eick, 'They Met at Wounded Knee – The Eastmans' story', University of Nevada Press, Reno & Las Vegas, 2020, chap. 2For examples of similar Dallin works in different edition sizes see the following references:Rell G. Francis, 'Cyrus E. Dallin: Let Justice Be Done', Springville, Utah,... For further information on this lot please visit Bonhams.com

Of Napoleonic interest: A terracotta bust of Prince Eugène de Beauharnais (1781-1824), known as the 'Prince of Milan'Possibly workshop of Joseph Chinard (French, 1756-1813), early 19th centuryThe bust cast and hand modelled, the sitter looking slightly to dexter wearing an embroidered high-collared coat, sash and military decorations, on an integral waisted square socle, inscribed verso chinard De Lyon, and indistinctly inscribed S.A.S. Le prince Eugène/ le roi à Milan, 28cm high Footnotes:Eugène Rose de Beauharnais, Duke of Leuchtenberg (French, 1781-1824) was a French nobleman, statesman and military commander who served during the French Revolutionary Wars and the Napoleonic Wars.Through the second marriage of his mother, Joséphine de Beauharnais, he famously became the stepson of Napoleon Bonaparte. Under the French Empire he also became Napoleon's adopted son although not the heir apparent to the imperial throne. Considered to be one of the ablest of Napoleon's relatives he commanded the Army of Italy during the Napoleonic Wars, and was Viceroy of the Kingdom of Italy under his stepfather. For the original model see M. Germain Bapst, Catalogue des sculptures par Joseph Chinard de Lyon (1756-1813) formant la collection de M. le comte de Penha-Longa, Paris, 1911, no. 37.For an 1809 marble bust of the sitter by Giovanni Battista Comolli at Versailles, see Hubert 1964, no. 161.Literature:Gérard Hubert, La sculpture dans L'Italie Napoléonienne, Paris, 1964For further information on this lot please visit Bonhams.com

Patrick Mavros: a silver Zebra with foal sculptureZimbabwe Of realistic form, hand cast using the 'lost wax' process and finished with finely chased detail, the miniature animal figurines mounted on a natural root section of Zimbabwean ebony 'Dalbergia Melanoxylon', certificate of authenticity included, height 8cm.For further information on this lot please visit Bonhams.com

Patrick Mavros: a silver Elephant sculptureZimbabwe Of realistic form, hand cast using the 'lost wax' process and finished with finely chased detail, the miniature animal figurine mounted on a natural root section of Zimbabwean ebony 'Dalbergia Melanoxylon', certificate of authenticity included, height 7cm.For further information on this lot please visit Bonhams.com

A cased silver oryx and quartz crystal geode sculptureGarrard, London 1991 Of globe like form, a realistically cast oryx with finely chased detail, patinated to its horns, hooves and tail, mounted on a free-form silver base to the fore of an open white quartz geode, crystals sparkling, atop a turned spreading wooden base, encased in a bespoke two door opening Garrard case lined in velvet and closed with brass locks, height total 13cm.For further information on this lot please visit Bonhams.com

Elna Sophie C. Steen-Hertel (1872-1947) bronze sculpture of a naked boy with kitten, signed to the base, 39cm highCondition report: Good condition, no damage or repair

Gotthilf Jaeger (1871-1933): Bronze sculpture of a sinuous female dancing female, signed and with foundry mark - VRAI BRONZE DEPOSE K, 72.5cm high, raised on conical serpentine marble base, total height 94cmCondition report: Minor surface scratches and minor wear commensurate with age, basically good condition

Else Furst (1873-1943): Bronze sculpture of two pheasants, signed, raised on canted marble plinth, 74cm long

Charles Augustus H. Lutyens (1829-1915): Bronze sculpture of Jorrocks on horseback, signed and dated, inscribed 'Published by S. L. Fane, 49 Glasshouse Street, London W. May 6, 1891, 41cm long x 36cm high

T Cipriani - 19th century Italian carved alabaster sculpture, depicting a rural courtship, signed, raised on rectangular plinth, 61cm high x 35cm wide

Raphael Charles Peyre (1872-1949): Bronze sculpture titled 'Confidence', signed, on variegated marble plinth, titled to plinth, the bronze 50cm long

*Leon Underwood (1890-1975): Bronze sculpture - Joy as it Flies, signed, titled and numbered I/VII, also marked II presumably denoting second state, the bronze 42cm high on wooden plinth.Provenance: By descent from vendor's late parents who knew Leon Underwood

Manner of Robert Mouseman Thompson: Carved oak sculpture of a heavy horse and foal, on carved base initialled R, 43cm longCondition report: Good original condition

A contemporary bronze sculpture representing a three legged toad with applied mother of pearl shell, length 13cm.

A late 19th century bronze sculpture of classical figure possibly Dionysus, raised on circular plinth base, height 30cm.Additional InformationScratches and wear to the patina, see additional images. The piece is missing its original marble/plinth base, dents and knocks, hairline to the arm.

A 19th century bronze sculpture representing a Pan playing windpipes, raised on a hardstone plinth base, indistinctly signed, height 13cm, together with a cast bronze figure of a child with stretched arm, raised on marble plinth base, height 15cm (2).

A late 19th century bronze sculpture representing Dionysus, raised on alabaster plinth base, height 18cm, and a further bronze sculpture representing Chronos, raised on rectangular plinth base, height 20cm (af) (2).Additional InformationChronos is missing snake and there is section/scythe missing from the tip, wear to the patina, chipping to each of the plinth bases, the patina in both is af.

TONY KARPINSKI (born 1965); a limited edition bronze figure 'Adolescent Elephant', raised on a rectangular plinth, length of plinth 29.5cm, sold with certificate of authenticity, signed by the artist dated 2007 with sculpture no.1/8. (D)Footnote: Purchased from Haynes Fine Art of Broadway.Additional InformationIn very good condition with just a couple of light surface scratches to the base.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

AFTER PIERRE-JULES MENE; a bronzed sculpture of a horse, height 27cm.Additional InformationThe tail has been broken off and reattached, two of the legs have been broken off, one with losses.

A modern bronzed metal sculpture representing Athena, height 61cm.

GRACE CRITCHLEY; a contemporary composition model of a bird, on rock base, with signed artist's plaque, height 35cm, with a contemporary metal sculpture of two swallows, length 36cm (2). (D)Additional InformationThe sculpture of the swallows with some tarnishing to base.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

A contemporary bronzed resin sculpture of Napes Needle, inscribed 'Napes Needle, Centenary Celebration, June 1986', height 31cm, together with a Fell and Rock journal 1986, '100 years of rock climbing in the Lake District'.

Two 19th century carved serpentine sculpture representing a boar seated on a rectangular plinth base, length 6.5cm, and a hound, height 17cm (2).Additional InformationThe hound with chips/losses to the ear, numerous chips to each of the plinth base, the hound is missing the bottom part of his jaw, losses to the ear on the boar, chipping to the plinth base.

A decorative resin sculpture depicting an Art Nouveau style maiden seated on a column, height 111cm.Additional InformationOld repairs to the head, staining to the body and arms, discolouration, chipping.

INTERNATIONAL EXHIBITION 1862; Masterpieces of Industrial Art and Sculpture, two volumes from the three-volume series 'Gold & Silver' and 'Glass' (2).

MASTERPIECES OF INDUSTRIAL ART AND SCULPTURE AT THE INTERNATIONAL EXHIBITION 1862; by J. B. Waring, three large Moroccan leather bound volumes.

DOUG HYDE (born 1972); a three dimensional wall sculpture, 'High on Love (Objet D'Art)',  encased in a perspex box, edition 107/150, size including box approximately 66 x 66cm. (D) Additional InformationPerspex box damaged, screws loose, perspex broken, scratched on front, no certifcate of authenticity.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Three shelves of collectables, including Nachtmann sculpture of eagle

A resin sculpture of horse racing by Academy

A vintage naturalistic living / live edge tree trunk / wood sculpture / coffee table.

A Richard Heelley dragon sculpture

CONTEMPORARY SCHOOL SCULPTURE, the family, faux bronze, 37x40x15.

A bird sculpture AF together with a Royal Doulton jardiniere and a turquoise glazed jardiniere

A Trench Art sculpture made of bullets

An amber glass abstract sculpture

Sculpture in wood 19th H135

Sculpture in bronze H160

Sculpture in bronze (lantern) on a base H115

Sculpture on base in white stone H265x86x86

Sculpture of angel in granite H115X106

Beautiful sculpture in white marble H122

Sculpture in sandstone H200

Sculpture in Marble H185

Sculpture in Marble H95x125x33

Sculpture in bronze H100