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‡Peter Hayes (born 1946) Standing Family tall stoneware sculpture glazed verdi gris, 72cm. high

‡Peter Hayes (born 1946) Totem Form with copper disc, a tall raku sculpture on polished slate base, black and blue finish unsigned 73.5cm. high

‡Peter Hayes (born 1946) an impressive raku wall sculpture with blue resin band, 2007 signed Peter Hayes 07 in pen 70 x 71cm.

‡Andrew Richardson (born 1949) Castle Sculpture, 1971 stoneware sculptural vessel and cover with impressed decoration, the cover with six small loose buildings, and a similar townscape of fifteen small buildings, impressed seal mark to side, 19cm. high, (23) Provenance The Crafts Centre of Great Britain, 1971, David Coachworth Collection.

‡Anthony Theakston, (born 1965) Owl salt-glazed ceramic sculpture of a perched barn owl, on wooden plinth incised signature 30.5cm. high Provenance Purchased directly from the artist, private collection.

‡Anthony Theakston (born 1965) Turnaround a tall grey and green salt-glazed stoneware sculpture of a barn owl perched on a cylindrical base, signed to base 36cm. high

A Maleras glass block sculpture designed by Mats Jonasson, rectangular form, cast to the reverse with a portrait of a woman, applied sticker label, etched mark to base, 13.5cm. high

George Henri Laurent (1880-1940) Marabou standing a tall silvered bronze sculpture of a bird, signed in the cast G.H.Laurent, 38.5cm. high Provenance A private collection of Art Nouveau and Art Deco.

Louis Albert Carvin (1875-1951) Borzoi lying silvered bronze sculpture of a dog, on polished black slate base etched Carvin to base 50.5cm. wide Provenance A private collection of Art Nouveau and Art Deco.

'The Terrace' a Rowley Gallery marquetry fire screen, rectangular panel, decorated with a medieval courting couple, on a terrace, before a large figural sculpture, stamped Rowley, original paper label to reverse, 87 x 57cm.

Josef Lorenzl (1892-1950) Dancer with a disc patinated bronze sculpture on veined onyx desk stand base, signed in the bronze Lorenzl 20.5cm. high (figure), 36cm. wide (stand) Provenance Art Deco & Design, Woolley and Walls Auctioneer's 21st March 2018, lot 160. Private collection.

An American patinated bakelite wall sculpture, modelled as two flying stylised birds, cast marks to back, 125cm. wide

A GILT FRAMED MARBLE EFFECT SCULPTURE

A contemporary patinated bronze sculpture, naked dancer, signed Laude, on marble base, height 24cmGood condition

A patinated bronze sculpture, foxes and cubs, early to mid-20th century, height 12cm, diameter 16cmVery good condition, no signature or impressed marks

A patinated bronze sculpture, Madonna with infant Christ, unsigned, early 20th century, height 9cmGood condition, no signature or impressed marks

A patinated bronze sculpture, Classical child on a rock, unsigned, late 19th/early 20th century, height 17cmGood condition

A patinated bronze sculpture of Neptune, on black marble base, unsigned, height 32cmVery good condition, contemporary bronze, probably 30-40 years old

LATIN AMERICAN FOLK ART: A painted wooden sculpture, naively carved as a bird surmounting a ball finial raised on a four pillar turret, 24cm high

LIANE KATSUKI (Entre Rios, Brazil, present)."Triade of Amon", 2004.Bronze sculpture in 4 parts with reddish-brown patina and polished gloss. Marble base.Signed.Measurements: 29 x 19 x 10 cm (sculpture); 5 x 18 x 14 cm (pedestal).Sculptor and jewelry designer, Liane Katsuki began her training studying Fine Arts in Salvador de Bahia, to later expand it in France, at the Schools of Fine Arts in Paris and Toulouse. Currently based in Spain, throughout her career she has held more than two hundred solo and group exhibitions, and her work has been recognized with the De Beers Diamond, Tahitian Pearls, Public Sculpture, Caja de Madrid, Fumcisa and Majadahonda awards. She has also collaborated with important designers, among them Pierre Cardin. She is currently president of the Spanish Association of Author Jewelry, and a member of the artistic group ProArte. Liane Katsuki's pieces are characterized by their modular personality: two or three elements make up each of the units created by the artist: elements that integrate, relate and complement each other in an exceptional way, making the most of shapes and materials.

MANUEL MARÍN (Cieza, Murcia, 1942 - Málaga, 2007).Untitled, c. 70's.Polychrome iron.Signed with die.Measurements: 17 x 27 x 15 cm.It is worth mentioning the work of Manuel Marín, which shows his clear link with the avant-garde currents, the application and development of them in his own production through a unique and personal language.Manuel Marín started in the world of bullfighting at the age of ten, and made his first bullfight at the age of sixteen. However, at the age of twenty he traveled to London and began working in an art gallery, entering definitively into the world of sculpture. There he met the British artist Henry Moore, who hired him as an assistant in the realization of his bronze sculptures. In 1964 he moved to New York, where he worked as an art restorer until he opened his own gallery, The American Indian Art Gallery, which counted among its clients Warhol, Basquiat, De Kooning, Keith Haring and others. Attracted to mobile sculptures, he began creating his own works in 1969, and the following year held his first exhibition at the Alan Brown Gallery in Scardele, New York. Since then he has shown his work in various New York venues, as well as in Canada, Italy, Mexico, China, Puerto Rico, Japan and Spain. He currently has public monuments in various parts of the United States and Spain, and is represented in Spanish and foreign collections, having achieved critical and public recognition for his artistic production.

ALEX MITCHELL (Illinois, 1969)."OH-OH," 2005.Mixed media on wood.Signed, titled and dated on the back.Presents label of the Rafael Perez Hernando Gallery.Measurements: 143 x 50 x 21 cm.Contemporary sculpture in which the artist has used a variety of materials, such as wood and fabrics, thus forming a variable and dynamic whole. These adjectives can be applied because the piece presents elements with which the spectator can interact. An example of this is the thumb or the rag doll that can be completely removed.Alex Mitchell began his artistic training studying Interior Design at the University of Cincinnati in 2000 after completing his degree, he continued his training at the Young Memorial Museum of San Francisco, and in 2002 he established himself as an artist-in-residence at the Palace of the California Legion of Honor in San Francisco. Throughout his career he has had numerous exhibitions nationally and internationally. To understand Alex Mitchell's work it is interesting to read the words of the artist in 2008 in the Logopress Art Magazine "The nature of my work is sculptural even though it hangs on walls. I consider the structure of each new work as a box that groups the images in the same way that a stage gathers a play. Sometimes the work manifests as a large painted wooden panel, with holes and three-dimensional figures attached to it to create shapes that move in and out of the panel. Other times, the work literally manifests as a wooden box that has a lid to be opened and small pieces inside that can be pulled out as if it were a treasure chest.I like the idea of my work existing somewhere between sculpture and painting. For me this ambiguity opens the door to also invent a way to play or interact as my work does. I achieve this through simple wooden mechanisms that give movement to the images or by including, for example, hand-sewn cloth dolls, which can be placed to give life to the characters within the images. Of course, an invitation to play or interact is also an invitation to create your own story, and sometimes I feel that I am offering the viewer a game inside its box, but without an instruction book. The viewer is free to create their own version of the game."

JOAN RIPOLLÉS (Castellón, 1932)."The flower".Oil on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later he took drawing classes at the Ribalta Institute in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he made twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. In 1977 he moved to Holland, where he made the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, creating sixty-two works in ceramic and bronze that were exhibited at the 1988 edition of ARCO. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several American cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After a first stage of correct figuration in which he recreates the landscape of his land, his work is leaning first towards a dramatic expressionism, and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic world and a certain eroticism, a work is developed whose roots hide a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

MANUEL ANGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Sculpture", 1972.Oil on canvas.Signed and dated in the lower right corner. Titled on the back.Measurements: 46 x 38 cm; 58 x 50 cm (frame).In the exhibition dedicated by the Museo y Centro de Arte Reina Sofía in Madrid, it was pointed out that the work of Manuel Ángeles Ortiz is difficult to classify. This difficulty is appreciated even in this work, where the artist makes a game through the title and the support, thus inviting the viewer to reflect on the work. This same reflection is what he transferred to all his artistic work, for this reason it is difficult to classify it as part of a movement, or a specific aesthetic. During the 60's he created his work geometric head, he was interested in the human figure and compositional analysis. In this work you can appreciate these interests, but at the same time a surrealist heritage. The work of Manuel Ángeles Ortiz shows the same alternation of languages (late Cubism, line drawing and round and monumental volumes of classical inspiration, etc.), a symptom of the different approaches to a return to order, promulgated by different voices, from Cahiers d'Art to Jean Cocteau or Amédée Ozenfant. He was an independent artist, difficult to classify stylistically, as he did not stop experimenting throughout his career, although he rejected abstract painting. That is why he is attracted to surrealism for "its enigmatic lyricism, not its morbid aberrations of psychotic subjection", as he himself points out.Manuel Ángeles Ortiz was an essential artist in the renewal of art in Spain throughout the 1920s and until the Civil War in Spain. Representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city, and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a collective exhibition, receiving very good reviews in the local press. At the beginning of the twenties he moves to Paris, where he will have in Picasso his main support and first enthusiast. There he had his first individual exhibition, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to go first to Paris and then to Buenos Aires, where he became fully integrated in the artistic environment and lived until 1948, when he returned to Paris for good. From his first stay in Paris, Pablo Picasso's imprint on his work is profound. The same happens in Buenos Aires, his series of woods are not found objects, but pieces worked following his own intuitions. All this is linked to the tradition of the poetics of the primitive, developed by artists such as Benjamin Palencia, Angel Ferrant, or Alberto Sanchez, but also by Paul Klee, Jean Arp and Constantin Brancusi. From the fifties in his work persist the landscape and the human figure but approaches informalism. He is currently represented in the Reina Sofía National Museum in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Contemporary Art Museum in Seville, the Fine Arts Museum in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera Gallery in Cologne, among other public and private collections.

MANOLO VALDÉS BLASCO (Valencia, 1942). "Birds". Mixed media (etching, aquatint and collage on paper. Unique piece. Signed and dedicated by hand. Size: 83 x 65 cm (print); 107 x 80 cm (paper); 118 x 92 cm (frame). In this work, Valdés combines his particular aesthetic with the images of important artists, including works by Botero, Dalí and Lichtenstein. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan (1965), the silver medal at the II International Biennial of Engravings in Tokyo (1979), the Bridgestone Art Museum prize in Lisbon (1979), the National Plastic Arts Prize (1983), the medal at the International Festival of Plastic Artists in Baghdad (1986), the Decoration of the Order of Andrés Bello in Venezuela (1993), the prize of the National Council of Monaco (1997), the Gold Medal for Merit in Fine Arts (1998), the Prize of the Spanish Association of Art Critics (2000) and the Prize for the Best Print Artist (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritising above all other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera and Zurbarán, and he never concealed his models, but rather emphasised them, even in the titles of his works. Formally, he produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Frances Mary Towers (early 20th century school) Pencil and watercolour Various studies, portraits, sculpture studies, etc, some signed verso and dated 1915/1916, mounted, unframed, various sizes (10) 

Attributed to Paul Vanstone (b.1967) variegated white polished stone sculpture of female torso, the whole raised on base, and approx 183cm tall (ARR)

A group of art exhibition catalogues and pamphlets, including 1977 Hayward Annual, 1977 Silver Jubilee Exhibition of Contemporary British Sculpture, Marlborough Fine Art Exhibition 1975 John Piper [5]

H Simon, a modernist sculpture of three bronzed interchangeable rings on a black ridged base, incised signature and date H Simon '74, numbered 4/12, 45cm high CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Robert Taylor (Contemporary)/Original Photograph of Glass Sculpture/inscribed on label verso/photographic print, 22cm x 18cm and some printed material showing examples of the artist's work/Provenance: a gift from the artist CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Mestrovic, a wood sculpture, seated couple embracing, signed, 31cm high CONDITION REPORT: This has come from a private collector. Extremely sun bleached to one side. Several large splits in the wood.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Painted sculpture figure of Robert Burns, on plinth base, 36cm.

Joseph Bofill sculpture of 'Woman in the Wind', 32cm.

Large impressive bronze sculpture of a male god riding an eagle above figures holding up the World, on marble base, 87cm high.

Lalique fronted sculpture Acrobat with box, 15cm, together with Lalique naked female sculpture, 19cm (2).

*John Maltby (1936-2020),a standing crowned figure, stoneware, the crown with two hanging ceramic beaded suspensions, with geometric motifs to the body, with artist's monogram60cm high, on a fixed painted wood plinth*Artist's Resale Right may apply to this lot.John Maltby (1936-2020) Rejecting the conventional Anglo-Oriental traditions defined by Bernard Leach, John Maltby spearheaded the development of a new Modernist movement in British Studio Pottery from the mid-1960s until his death in 2020.Initially trained as a sculptor at Leicester University and Goldsmiths, Maltby's career as an art potter began in 1962, working with David Leach at Bovey Tracey. Leaving Leach's tutelage in 1964, however, he felt no connection with the practices and aesthetics, and instead set out his own artistic direction, which would redefine British Studio Pottery.Rather than drawing from the Japanese styles worked by his contemporaries, Maltby was influenced by artists such as Henry Moore, Alfred Wallis, Picasso and Paul Klee, emphasising the symbiosis of abstract geometry and colour. Working in bolder colours and asymmetric shapes, Maltby never regarded his work as mere vessels, but rather each piece as a sculptural work, enclosing particular memories and emotions.The concept of memory was always at the heart of Maltby's work, and this notion was reinforced in 1996 when, following heart surgery, Maltby was forced to change his practice being unable to work the clay as he had previously. Rather than abandoning his craft, Maltby made the most significant change in his artistic career - the transition from turned pottery vessels to sculpture. The shift in practice made Maltby's previously employed patterns and aesthetics spring to life and introduced many returning 'characters', taking the form of birds, fishermen, kings, knights and many more. These characters took on token characteristics of Maltby's life and he embodied into them specific memories or emotions evoked by pieces of art or music.Maltby always sought for his work to regale a narrative, be it the far away chivalrous stories of knights and kings, or the humble tales of the local fishing folk surrounding his Devon home - they all held equal importance in Maltby's mind. Continuously revisiting these for the last twenty-four years of his life, Maltby has built a unique legacy in the echelons of British Art Pottery. The playfulness in his work continues to attract collectors, new and old, and has made it universally applicable in any interior context. They are, at their heart, conversation pieces, and in discussing them, they become subject to new narratives and new memories.

*A Bugatti Type 35 sculpture,cast bronze, built to 1:1 scale, to illustrate the aesthetic form of a Bugatti Type 35, one of the marque’s most iconic racing cars, by François Chevalier (b.1942),140cm wide380cm long110cm highThe sculpture of the type 35, one of the marque’s most iconic racing cars, was produced at a well-known foundry in Verona, and is a faithful reproduction of one of Bugatti’s most celebrated creations.*Artist's Resale Right may apply to this lot.

*Nicolas Lavarenne (French, b.1953),'Moyen Passeur', a patinated bronze and stainless steel sculpture, numbered '5/8' and stamped 'Lavarenne 99'Cire Perdue Bronze 2003', bronze 190cm longpoles 735cm long approximatelyNicolas Lavarenne was born in Chamalières, Puy de Dôme in 1953. A self-taught sculptor he describes his work thus: ‘I sculpt in a realistic manner by seeking expression through the attitudes of the human body; I work on the paradoxical duality of situations. Perfectly balanced, but instantaneous, the bodies oscillate before the spectator, who makes them fall over or get up’.In 1984, Lavarenne won the Prix du Public at the Biennale of UMAM in Nice. He has had many solo exhibitions and his work is in private and public collections throughout Europe and the USA.This sculpture is monumental in size, the female form is arched in either ecstasy or graceful suffering and is raised high on the stainless steel rods. It would appear the sculpture has been displayed in a small lake as the base of the stand has calcification.*Artist's Resale Right may apply to this lot. Condition report: The lower sections of the poles have limescale after sitting in water.

*Patricia Volk (b.1951),'Woman', bronze, raised on a tapering plinth,53.5cm high*Artist's Resale Right may apply to this lot.Condition report: Some minor wear to the edges of the base. Otherwise good overall condition.With certificate from the McHardy Sculpture Company.

A patinated bronze wall sculpture,depicting a seated girl with a cat42cm wide64cm high

A modernist bronze figural sculpture, indistinctly signed and dated '1996', 46cm high,together with three further small bronze casts, which stack together or in the base of the sculpture (4)

*John Maltby (1936-2020),'Fisheringfolk', 2006, a stoneware sculpture, with incised decoration, depicting two fishermen on a shore, one modelled holding a fish, the other holding a net, impressed with artist's seal, 32.5cm wide29cm high*Artist's Resale Right may apply to this lot.Condition report: One notable very light scratch to the rear of the formation behind the figure. Additional image uploaded.

A wrought iron garden sculpture,with welded 'feathered' panels, fixed on a rectangular plinth, 36cm wide93cm highProvenance: From the estate of post-war architect Brian Smith, who worked for Frederick MacManus & Partners on the Gospel Oak Development, London, and for the United Reformed Church. He took over as senior partner of the firm in 1969.

A modern free-standing four-piece wooden floor sculpture,in the form of a coco de mer,largest piece 58.5cm high (4)

An abstract wall sculpture,1960s, in the manner of Wassily Kandinsky, painted wood, patinated metal and glass in a geometric arrangement, mounted on a canvas-clad board, 68 x 90cmCondition report: With wear and scuffs. The central metal construct appears somewhat loose.

‘Sculpture of Speed’, a modern Bentley sculpture, designed by Rajesh Kutty, raised on a shaped lacquered plinth, signed and dated '09',52cm wide30cm deep20cm highWith a booklet of twenty-four designs by Bentley's styling and design team, this piece was purchased at a Charity Aid Auction in aid of The Christie NHS Trust Foundation on Tuesday 1 December 2009.Provenance: The Lawrie Gatehouse Collection.Condition report: Chips to the front corners of the piece - the car design is not fixed to the perspex mount.

A Studio Ahus glass 'Fire' sculpture,c.1995, designed by Hanne Dreutler and Arthur Zirnzack, with wrythen blue 'Ariel' style decoration, signed and dated,30cm highThis was the largest size of this model produced.Condition report: Good overall condition, with minor surface marks and a scratch towards the base.

*John Maltby (1936-2020),'Raven and the World', 2014, a stoneware sculpture, with incised decoration, depicting a bird perched atop a hollowed-out disc, mounted on a wooden plinth, impressed with artist's seal, 15.5cm wide33cm high*Artist's Resale Right may apply to this lot.

A Japanese iron teapot and cover, 12cm h and miscellaneous South East Asian bronze and brass sculpture and other objects, including a figure of Ganesh, etc Some corrosion but otherwise overall good condition, no cracks or other obvious damage

An Italian serpentine sculpture of the Uffizi Boar after the antique, 19th / 20th c, 12cm h and a pair of Chinese soapstone carvings of dogs of Fo, 20th c (3) Boar - one ear and part of mane chipped. Dogs of fo - minor knocks and scratches only

Needlework Tools. A Victorian vegetable ivory tape measure, the red tape rewound by rotating the turned bone finial, 55mm h and a French bronzed metal miniature sculpture of the Sphinx, late 19th c, on noir belge base (2) Tape measure and Sphinx both in good condition, base of Sphinx chipped

A French terracotta sculpture of a semi naked maiden tenderly holding a bird, cast from a model by R Pollin, c1920, 47cm h Some settled dust but not damaged

A Victorian copper kettle, together with a copper sculpture of a boat, pewter mug, candlestick holder, brass doorstop and more

Two skeleton clocks, one signed 'Henry Marc', together with another small brass clock and a resin sculpture of a Samurai riding a horse, maximum height 23.5cm

A bronze sculpture of a ballerina after Degas, a porcelain figure of a seated ballerina by The Leonardo Collection, the first 25cm high (2)

A collection of wooden wares, including a pair of oak barley twist candlesticks, a laughing Buddha sculpture, storage tray height 36cm, and more

A Norwegian Abstract Modern Art Sculpture, 35cm high

Gilbert Ledward R.A., (British 1888-1960): A rare patinated bronze figure of 'The Awakening'the nude female with serene expression, her arms raised above her head slightly turned to sinister, supported on integral ivory draped Corinthian column capital, with inscribed dated signature G.Ledward 1915 raised on a marble turned socle plinth, 43cm high overallFootnotes:Born in Chelsea, West London, Gilbert Ledward came from a family of sculptors and potters and trained at the Royal College of Art and the Royal Academy. He won the British Prix de Rome for sculpture in 1913, and in World War I served in the Royal Garrison Artillery and later as a war artist. He produced reliefs for the Imperial War Museum predominantly depicting soldiers in action and after the war he was greatly in demand as a sculptor of war memorials. He was professor of sculpture at the Royal College of Art between 1927 and 1929 and in 1937 was elected a Royal Academician. He subsequently became president of the Royal Society of British Sculptors between 1954 and 1956. In 1956 he also was made OBE and a trustee of the Royal Academy. [The large scale version of 'Awakening' or 'The Awakening' was modelled and cast in 1913 and can be seen can be seen in Ropers Garden on the Chelsea Embankment.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

After the Antique: A good Italian carved white marble of the Crouching Venus on verde antico pedestalsigned Galleria G. Manetti, Roma, probably mid 20th centurythe crouching goddess with her hair dressed in an Apollo's knot, the canted rectangular base with beaded border on draped integral plinth, signed to one side GALLERIA G. MANETTI, ROMA, MADE IN ITALY, the pedestal with moulded circular revolving plateau top above a fluted tapering column and lotus baluster support, raised on a waisted socle base and integral canted plinth foot, the figure 87.5cm high approximately, the pedestal 106cm high approximately (2)Footnotes:Provenance:Sothebys, 19th century Sculpture, 11th July 2018, sale 18230 (lot 9).The Crouching Venus is a Hellenistic model of Venus surprised at her bath and is found in a number of variations, perhaps the most famous one being the example first fully recorded at the Villa Medici in 1704 which can be traced back through references in more rudimentary inventories of the sculpture collection to at least 1670 and even as far back as 1598. Early commentators considered the subject to be the Birth of Venus but later the goddess was generally thought to be bathing.This figure was taken to Florence in 1787 and was placed in the Uffizi where it remains today known as the Uffizi Venus. Originally thought to be a copy of a statue by Diodalses and referred to by Pliny, more recent scholars relate it to Pergamene sculptures, such as the Arrotino. In the majority of known versions of the subject of Venus, the goddess crouches with her right knee close to the ground, turns her head to the right and reaches her right arm over to her left shoulder to cover her breasts. However the number of copies that have been excavated on Roman sites throughout Italy and France since the Renaissance period suggest that she was a very popular subject in the ancient world hence why variants appear frequently. In addition, the antique examples of the Crouching Venus in prominent art collections subsequently influenced later sculptors including famously, Giambologna and these figures were also drawn by contemporary artists such as Martin Heemskerck, who made a drawing of the Farnese Crouching Venus which is now in Naples.Related Literature:F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900, New Haven and Yale, 1981, p. 321-23.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

Large polished veined onyx sculpture in the form of an egg, 9ins long approximately