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Large glass tree sculpture with 4 birds & orange blossom

Large bronze effect welsh dragon sculpture on wooden base, height 28cm

Lady Benita Strauss nee Armstrong (British 1907-2004) - plaster sculpture, 8.5" high, 12" wide, untitled and unsigned **Provenance Bonhams 2008 **Benita Armstrong studied under Viennese sculptor Georg Ehrlich

Five pieces of Studio pottery to include Beswick vase, 11.5" high, Briglin stoneware vase decorated with sunflowers, 10" high, Denby stoneware jug, iron glaze shouldered vase and pottery cuboid sculpture indistinctly signed to the reverse (5)

A gold and polychrome glazed ceramic sculpture of a lion roaring and standing on the Belgian flag on a rocky base. Signed M and numbered. H.43 L.52 W.18cm

Elizabeth Grant (American, 20th century). Oil on canvas board painting depicting a still life composition of a plaster cast male bust sculpture, fruit, a pitcher, and wine on a table.Height: 22 in x width: 28 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 22 in x width: 28 in.

Fritz Scholder (American, 1937-2005). Oil painting on paper depicting two abstracted human figures - one purple, the other green - in the midst of an embrace. The couple is set against a dark gray background with an amorphous form protruding from them and reaching out towards the left frame. Signed along the lower right in pencil.Fritz Scholder was born in Breckenridge, Minnesota in 1937 to parents that worked in pottery and in school administration for the Bureau of Indian Affairs. Fritz Scholder’s paternal grandmother was a member of the Luiseño tribe of California’s Mission Indians. Thus, he was one-quarter Indian and did not identify as an Indian. He was raised in Wahpeton, North Dakota, South Dakota and Wisconsin, attending public schools with primarily Anglo children. His first American Indian instructor was Oscar Howe at a high school in Pierre, South Dakota, who introduced him to modern art. In the 1950s, Scholder and his family moved to California, studying at Sacramento City College with Wayne Thiebaud, a pop artist. Thiebaud presented him with early opportunities to showcase his work. Scholder’s first show was in 1961 in Sacramento, which received excellent reviews. Scholder’s style was that of bold colors and generous brushstrokes. After graduating with an MFA Degree in 1964, Scholder became an instructor at the newly formed Institute of American Indians Arts in Santa Fe, New Mexico, remaining there for five years.In 1967 he began creating a series that maintained his bold, contemporary style that combined Abstract Expressionism and Pop Art, while introducing depictions of the contemporary lifestyle of American Indians. With humor, he presented such clichés, and he drew attention to the issues of self-alienation and the enforced alienation of these citizens. He resigned from teaching in 1969 and travelled to Basel and Egypt before settling in Scottsdale, Arizona. He then moved into the American Portrait series. He also pursued tactile sculpture, which merged his experience of the medium in graduate school with his imagination. The American Portrait series and sculptural works were inspired by his collection of Egyptian artifacts that he lived with, along with a desire to imbue his work with more of his self.Scholder’s Indian series continued to garner attention while his newer series were being explored. In 1972 a two-person show with a former student, Two American Painters: Fritz Scholder and T.C. Cannon, opened at the American Museum of Art of the Smithsonian Institution, Washington D.C. to good reviews and it traveled to Romania, Yugoslavia, Berlin and London. He began the American Portrait by 1980 and the Flower series in 1979, inspired by his surroundings and the challenge of pursuing non-figural subject and in a beautiful manner. His work was shown at the Basel International Art Fair in 1974, The Tucson Museum of art for a 1981 retrospective, and the Phoenix Art Museum in 1997 for his beastly artworks. In addition three documentaries were produced on the artist, in 1977, 1997, and 2008, the former two made by PBS. Following his death in 2005, an important exhibition was held in 2008 at the National Museum of the American Indian, Washington D.C. and New York, called “Fritz Scholder: Indian/Not Indian,†which placed many of his artworks from private collections on public view. Today Scholder’s works are in the collections of: Museum of Modern Art; Brooklyn Museum of Art; Art Gallery of Toronto; Bibliotheque Nationale, Paris; Center Cultural American, Paris; Los Angeles County Museum, California; San Francisco Museum of Art; National Collection of Fine Arts; and the Houston Museum of Fine Arts.Provenance: Private collection, Minnesota.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 29 3/4 in x width: 22 3/4 in. Framed; height: 37 1/2 in x width: 29 1/2 in.

Leon Golub (American, 1922-2004). Oil painting on canvas titled "Head (XXXVIII)" depicting an abstract, surrealist portrait of a figure in thick impasto of white, yellow, green, and gray pigments. Signed along the lower right. Initialed, signed, titled, and dated along the verso.Lot essay: Leon Golub is known for his disturbing, visceral, almost violent art. His approach centered social justice, forcing the viewer to face uncomfortable truths about the world and their place in it.Leon Golub grew up in Chicago and studied art history at the University of Chicago. After serving in World War II, he returned to Chicago where he used the G.I. Bill to study at the School of the Art Institute of Chicago. There, he and several classmates, including his future wife Nancy Spero, made up the “Monster Roster.†This group, so dubbed due to the grisly and shocking content of their works, made a name for themselves on the Chicago and national art scenes. Many members of the group, like Golub, were World War II veterans, dealing with the fallout from that violent portion of their lives.In the late 1950s, Golub and Spero moved to Europe. They started a family, and continued to explore artistic media and inspirations, notably Classical art and sculpture. Golub, who had previously painted primarily in lacquer, began working in acrylics, and began violently carving into the paint layers and grinding the paint onto the canvas.When Golub, Spero, and their children returned to the US in the late 1960s, the Vietnam War was in full swing and so too were the protests against it. Golub threw himself into protest art, creating confrontational paintings that decried the evils of the war. While his work was anti-establishment, the artistic establishment took a liking to him. Museums such as MoMA exhibited his works with other notable artists including Jackson Pollock, Francis Bacon, and Willem de Kooning.Leon Golub continued to create art and agitate for social causes until his death in 2004. His later works included portraits of major political figures and violent works depicting terrorism and other evils of the world. Toward the end of his career and life, many of his works took on a more introspective focus on one’s own mortality."Head (XXXVIII)" is an excellent example of Golub’s figurative work. Portrait is a hugely important part of his oeuvre: many of his series have featured portraits, often of political leaders and war criminals. He has layered and scraped away the paints, making a palimpsest of the canvas. This head is a story told through texture and color, built up and broken down again. The lack of features on this face make it universal, and through that in some ways more frightening than his works that explicitly depict evil. The human head of a torturer or human rights violator, after all, looks much like the head of any other human when reduced to its essentials. The viewer is called upon to question and sit with the human experience, in all its complexity.Unframed; height: 20 1/4 in x width: 23 3/8 in. Framed; height: 21 in x width: 24 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 20 1/4 in x width: 23 3/8 in. Framed; height: 21 in x width: 24 in.

Roy Adzak (British, 1927-1987) "Classical Figure," 1966. Mixed media molded canvas artwork depicting a partial nude figure in the style of a classical sculpture from the front and behind. The artwork is housed in a simple gray wood frame. Signed, dated, and inscribed "Paris" along the verso.Provenance: Iris Clert, Paris, France, 1969; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Framed; height 39 1/2 in x width 40 in.Good, with some surface soiling.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Framed; height 39 1/2 in x width 40 in.

James Kielkopf (American, b. 1939). Painted glass sculpture housed in a wooden frame. Signed and dated "Dec. 1966" along the verso. Stamped "Hermetic 3" along the verso.Unframed; height: 11 1/2 in x width: 11 1/2 in. Framed; height: 13 in x width: 13 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 11 1/2 in x width: 11 1/2 in. Framed; height: 13 in x width: 13 in.

Ernest Tino Trova (American, 1927-2009). Mixed media bronze metal and plexiglass suspended relief sculpture depicting Trova's iconic "Falling Man" motif, 1965. Marked with Trova's monogram and numbered 32/175.Height: 12 3/8 in x width: 11 1/4 in x depth: 3 1/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 12 3/8 in x width: 11 1/4 in x depth: 3 1/8 in.

Frederick Hart (American, 1943-1999). Pair of acrylic sculptures titled "Duet: The Pair," 1996, including one sculpture of a female nude in low relief and one of a male nude. Their edges seem to fit perfectly when placed side by side, making them a fitting pair. Both dated 1996, signed, numbered 170/450, and marked "GAZ" along the base. Frederick Hart is a sculptor best known for his figural works, especially "Ex Nihilo" at Washington National Cathedral.(Each) Height: 16 3/4 in x width: 10 3/8 in x depth: 5 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Each) Height: 16 3/4 in x width: 10 3/8 in x depth: 5 in.

Modern table top polychrome painted metal standing mobile or kinetic sculpture consisting of geometric shapes in vibrant colors such as yellow, red, blue, and green. Great piece for collectors of Alexander Calder (American, 1898-1976).Keywords: Curtis Jere, Memphis Milano.Height: 24 in x width: 26 in x depth: 9 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 24 in x width: 26 in x depth: 9 1/2 in.

Gregory Warmack / Mr. Imagination (American, 1948-2012). Folk art mixed media on found object sculpture composed of a glass bottle, painted sandstone, and bottlecaps. The sculpture depicts a futuristic figure in a blue robe with gold trim. Signed "By: Mr. Imagination" and dated 2009 along the underside. Mr. Imagination, or Mr. I as he prefers, is a native Chicagoan whose work centers around transforming found objects into works of contemporary art.Provenance: Private collection, Minnesota.Height: 14 3/4 in x width: 10 in x depth: 4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 3/4 in x width: 10 in x depth: 4 in.

Humberto Peraza (Mexican, 1925-2016). Bronze sculpture titled "Media Corrida (Half Run)," 1973, depicting three bulls. Signed along the base of the bronze. Galeria Tasende label affixed along the underside of the wooden base.Height: 6 1/2 in x width: 11 3/4 in x depth: 8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 6 1/2 in x width: 11 3/4 in x depth: 8 in.

Tiefeng Jiang (Chinese, b. 1938). Bronze sculpture with a rich bluish-green patina depicting a herd of horses with a beautiful, emerald lady serenely riding one along the foreground. Gilt details throughout. With frosted acrylic base. Signed, dated 1986, editioned, and stamped Finger Hut Grp along the back along one of the horse's haunches.Height: 14 1/2 in x width: 27 1/2 in x depth: 9 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/2 in x width: 27 1/2 in x depth: 9 in.

Paul Granlund (American, 1925-2003). Bronze sculpture titled "Family," 1991, depicting a whimsical portrayal of a family - a mother, father, and three children - holding hands and swinging the smallest child up into the air. Signed, dated, and numbered 4/25 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/8 in x width: 10 3/4 in x depth: 10 3/4 in.

Nic Jonk (Dutch, 1928-1994) bronze sculpture of a woman leaning down and touching her toes. The figure's features are smooth and rounded in Jonk's signature style. Signed, dated 1985, and editioned 6-7 along base and on sticker on the bottom.Height: 5 in x width: 2 1/2 in x depth: 3 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 5 in x width: 2 1/2 in x depth: 3 in.

Paul Granlund (American, 1925-2003). Bronze sculpture titled "Dawn," 1985, depicting a standing female nude figure with her right hand on her hip and her left arm reaching towards the sky and her hand full of her hair. Signed, dated '85, and numbered 4/10 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 41 3/4 in x width: 15 3/4 in x depth: 10 1/4 in.

Paul Granlund (American, 1925-2003). Bronze sculpture titled "Half-Tryst," 1984, depicting a standing female nude figure with arm stretched upwards and bending slightly back. Signed, dated '84, and numbered 3/25 along the base. Label that reads "Paul Granlund Half Tryst 3/25 CGR26452" affixed along the underside.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 11 1/2 in x width: 4 7/8 in x depth: 3 1/2 in.

Paul Granlund (American, 1925-2003). Bronze sculpture titled "Mothers Model," depicting two female figures holding hands above three children below. Signed, dated 78, and numbered 7/10 along the base.Provenance: Private collection, Minnesota.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 13 1/4 in x width: 8 3/8 in x depth: 8 3/8 in.

Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Bronze sculpture of an abstract three-legged form, twisting upwards. Signed and editioned "E/A" along one of the legs. Set on a large black acrylic base.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Sculpture; height: 63 x 24 1/2 x 16 1/2 in. Pedestal; height: 22 3/4 in x width: 27 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sculpture; height: 63 x 24 1/2 x 16 1/2 in. Pedestal; height: 22 3/4 in x width: 27 in.

Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Abstract bronze sculpture of an amorphous form. Signed and numbered e/a 1 along the bronze.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Height: 24 1/2 in x width: 6 in x depth: 6 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 24 1/2 in x width: 6 in x depth: 6 in.

Antonio Grediaga Kieff (Canadian/Spanish, b. 1936). Bronze sculpture of an abstract form twisting inwards. Signed and numbered 4/6 along the bronze.Antonio Grediaga Kieff was born in Madrid, and has been an educator and maker around the globe since the mid 20th century. Kieff is renown worldwide for his biomorphic, organic, and flowing sculpture made from wide arrays of materials. Outside from works like these, Kieff's work shows similar forms to this work in bronze through painting, illustration, and jewelry. Here, like in many of the works in the artist's oeuvre, we see Kieff's legendary abstract swirling form create several modes of optical excitement.Height: 18 in x width: 15 in x depth: 6 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 18 in x width: 15 in x depth: 6 in.

Modernist abstract bronze sculpture of an amorphous form. Illegibly signed or marked "PW" and numbered "16" along the side. Attractive piece for collectors of Henry Moore, Kieff Antonio Grediaga, and Richard Erdman.Height: 3/4 in x diameter: 5 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 3/4 in x diameter: 5 1/4 in.

Bronze sculpture of a tall, slender figure with its right arm raised. Illegibly signed and marked 5/20 © along the right leg. The sculpture rests on a marble base.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 31 1/2 in x width: 5 1/8 in x depth: 8 in.

Bronze sculpture depicting an abstracted human figure, with many bulges and twists. The artwork has a smooth, dark patina throughout.Height: 11 5/8 in x width: 3 in x depth: 2 5/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 11 5/8 in x width: 3 in x depth: 2 5/8 in.

Late 19th or early 20th century Arts and Crafts Victorian Gothic parcel gilt carved wooden altar angel sculpture. This figure is decorated with a laurel wreath and two detachable wings on either side. The figure wears a gown decorated with Gothic Revival motifs and design. The figure holds a scroll in front of them, possibly once used to display text.Keywords: Neo-Gothic, Pre-Raphaelite, Edward Burne-Jones, William Morris.Height: 72 1/2 in x width: 27 in x depth: 11 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 72 1/2 in x width: 27 in x depth: 11 in.

Christo (American/Bulgarian, 1935-2020). Conceptual art sculpture of a cardboard box wrapped in brown paper and twine, titled "Wrapped Box," 1966. Affixed with a Walker Art Center label along the lower front side that reads "Walker Art Center. 1710 Lyndale Avenue South Minneapolis, Minn. 55403. 64/100. Return Requested." and "48 Howard Street New York City, N.Y. 966-4437. Miss Margaret E. Morris 2429 - 3rd Avenue South Minneapolis, Minnesota." Additional label affixed along the upper right front of the package that reads: "Eight Sculptors: The Ambiguous Image. Oct. 22 to Dec. 4." This work was part of an edition of 100 created for the Walker Art Center's 1966 exhibition "Eight Sculptors: The Ambiguous Image." Height: 8 1/4 in x width: 8 1/2 x depth: 8 3/4 in.Tear to the brown paper

Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com

•SOPHIE DICKENS (BRITISH B. 1966) A STYLISED BRONZE SCULPTURE OF A REARING HORSE AND FIGURE initialled SD and numbered 3/9, upon black marble base, 41cm long x 47cm high Condition Report: no issues, could just do with a light clean as dusty in places.

JOHN BURNS ROBERTSON (SCOTTISH FL. 1920-1944) SCULPTURE HALL, GLASGOW ART GALLERIES AND MUSEUM Oil on canvas, signed and dated (19)27, 63 x 76cm (25 x 30") Inscribed on Artist's labels verso Condition Report: On close inspection there is a small area of cracking and pigment loss in the bottom left corner and overall in good condition with no significant issues.

Peter Doig (British, born 1959)Paragrand Etching and aquatint printed in tone, 2008, on Japanese surface gampi, signed with the initials, dated and numbered 34/55 in pencil, published by Skowhegan School of Painting & Sculpture, New York, with full margins, 720 x 578mm (28 3/8 x 22 3/4in)(SH)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Hessling (Egon) La Sculpture Belge Contemporaine. Berlin, New York 1903. Ltd Ed. 112/520. 60 plates and 60 in text illustrations. Fo. 1/2 calf and red cloth. Mbld end papers. Ex lib. Bumped and edges scuffed

After Salvador DaliVenus de Milo with drawers, bronze sculpture on veined marble base, 39cm high

Dartington owl paperweight by Alfred Capredoni, small owl glass sculpture by Mats Jonasson and a Cristal d'Arques owl, boxed

Floral decorated tray, steel sculpture and a quantity of stainless steel cutlery

A 20th century Benin bronze head sculpture, 45cm highLocation: G

A plaster sculpture of a sleeping lion, on a rectangular base (the front paw broken and repaired) 16cm H x 32cm W x 12cm D 

Photographs:  A large folio Photograph Album, containing mostly Italian & Roman views, approx. 40 large and small, a few of Cannes also, but with a v. large collection of reproductions of paintings and sculpture, all c. 1870, hf. mor.; together with a commercial Album, entitled 'Rome,' oblong folio c. 1889, with 50 lg. photos approx. 8" x 10", in orig. gilt décor. vellum binding. As photos., w.a.f. (2)

Art & Architecture: Ruskin (John) The Seven Lamps of Architecture, folio Lond. 1849, plts. etc; Howard (F.E.) & Crossley (F.H.) English Church Woodwork, sm. folio L. 1919; Baldry (A. Lys) Modern Mural Decoration, sm. folio L. 1902; Eastlake (Chas. L.) Hints on Household Taste in Furniture, Upholstery, etc, 8vo L. 1868, mor. backed boards; Robinson (J.C.) Italian Sculpture of the Middle Ages and Period of the Revival of Art, sm. folio Lond. 1862. Presentation Copy; Moore (Chas. H.) Character of Renaissance Architecture, roy 8vo N.Y. 1905; The Modern Gallery of British Artists, lg. 4to Lond. 1837. V. clean engd. ptls., cloth; & approx. 90 other vols. As a lot, w.a.f. Four Shelves.  (a lot)

MATS JONASSON for ROYAL KRONA SWEDEN - peacock sculpture, circa 1970s, signed to base, 25cm x 25cm

A carved and painted wood modernist sculpture, woman and child, probably early to mid-20th century, unsigned, height 54cm

Eve Castle, white glaze ceramic sculpture, Classical head study on woodblock base, height 16cmGlaze has a small chip on the nose otherwise good condition, incised initials EC on her neck and a handwritten paper label under the base

A COLLECTION OF MAINLY 1960S / 1970S LP RECORDS ETC., to include The Moody Blues, Dion & The Belmonts, Buddy Holly, Wayne Fontana & The Mindbenders, Adam Faith, Merseybeats, Love Sculpture, The Monkees, The Mamas & Papas etc (Approx 60)

A FINE PAIR OF ITALIAN CARVED WALNUT FIGURES OF YOUNG HUNTSMEN ATTRIBUTED TO VALENTINO PANCIERA BESAREL (ITALIAN 1829-1902), C1880 each wearing Renaissance costume and with various hunting accoutrements, including: a flask, a horn and a bag, one holding up a fish trophy with nets at his side, the other a falconer, holding aloft a hawk, with his trusty hound and dead game beside him, each standing on a naturalistic base (2) 147.4cm and 148.8cm high Provenance The Allcroft Family, 'The Hall' Stokesay Court, Shropshire. Acquired by the present owner from Sotheby's, Stokesay Court, Shropshire, 28th September 1994, lot 42. Catalogue Note Valentino Panciera, known as Besarel, was born in Zoldo near Belluno on 29th July 1829. He belonged to a family of carvers and carpenters but his style was heavily influenced by the 17th century sculptor Andrea Brustolon. During the 1860s he established his workshop in Venice on the Grand Canal. He soon became famous for creating exquisite sculpture and furniture for wealthy clients, even royalty, Edward, Prince of Wales, was a known patron. At the age of fifty-six, through carelessness, he cut off the fingers of his right hand. However, with his strong willpower and the use of prosthesis he continued to work. In 1878 he exhibited at the Paris Universelle Exposition where he won a gold medal. He died in Venice in 1902. Stokesay Court is a country house and estate in the parish of Onibury in Shropshire. It is described by John Newman in the Shropshire volume of Pevsner's Buildings of England as 'the most grandiloquent Victorian mansion in the county'. It was built for John Derby Allcroft, who had made his fortune as a glover, by the architect Thomas Harris. The work lasted from 1889 and 1892 and was finished only six months before Derby Allcroft's death. Following Jewell Magnus-Allcroft's death in 1992 the contents were sold by Sotheby's in 1994 to fund building repairs. The court was the main location for the filming of the 2007 movie, Atonement, featuring Kiera Knightley and James McAvoy. Literature Illustrated in Michael Hall, The Victorian Country House-From the archives of Country Life', p.147.

A Fine pair of North Italian terracotta lions18th centuryEach modelled standing, the mouth open in a roar, the head inclined to one side and framed by a flowing main, mounted on later elm bases, 122cm wide, 50cm deep, 98cm high (48in wide, 20in deep, 38.5in high) (2)Footnotes:Provenance: Bought by Lady Hamlyn from Galerie Canavèse, Paris in 2005.Depicted in a similar style to the famous Medici lions, purchased by Ferdinando I de' Medici in 1576, the above lions features are comparable to the Medici lions, but most noticeably that of the face and manes. Italy has had a long relationship with the lion. Representing, power and strength, the Venetians were particularly keen to associate themselves with these beasts, depicting them in art, sculpture and even being kept by the nobility, with the official state lion living in a golden cage in the Piazza San Marco.Although terracotta as a material was traditionally used for making maquettes for larger works, in the 18th century it became a popular medium with artists allowing the sculptor to show off his understanding of their subjects anatomy as demonstrated in the above lot.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 carved marble figure of Diana of Gabill19th centuryHer right arm raised (now lacking hand) adorned in drapery standing on a plinth base, together with a stone column plinth base, weathered, 44cm wide, 36cm deep, 143 cm high (17in wide, 14in deep, 56in high) the plinth bae: 38.5cm high (2)Footnotes:Widely believed to represent the Goddess Artemis and traditionally attributed to the sculptor Praxiteles. The sculpture on which the present lot is modelled was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii and immediately became part of the Borghese collection. It is now housed in the Louvre.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

An exceptional first quarter 16th Century mythological and allegorical TapestrySouth Netherlandish, probably woven between 1510-1520 Woven in rich wools and silks, the figures in typical Medieval dress, some labelled with a curious mix of Roman and Ancient Greek letters, the recurring figure of Aeneas wearing a blue draped cloak and red hat, the Sybil Diephobe (also recurring) wearing a beautiful medieval dress and girdle - an elaborate golden wimple on her head, the whole surrounded by a thin delicate flower-filled border, the main field depicting an intricate and complex rendition of ancient mythological episodes from the story of Aeneas, founder of Rome, first landing at Cumae in the top left corner of the main field and meeting the Sybil of Cumae, Diephobe, daughter of Glaucus, who shows him the temple of Apollo while his attendants search for water and firewood in the surrounding countryside. In the central field Diephobe shows Aeneas the doors of the temple which were crafted by the ancient craftsman Daedalus. The doors themselves show the story of Daedalus' winged escape from Crete on the right hand side and the conception of the infamous minotaur on the left hand side, the sculpture of Apollo, resplendent in golden armour, bears the wings which Daedalus used in his escape from Crete and which he then dedicated in thanks to Apollo when he arrived safely in Cumae. Aeneas is then shown all of the greatness of Rome to come and watches as, in the top right of the main field, a grief-stricken Augustus watches as his hoped-for successor Marcellus Marcus Claudius is buried, his wife Octavia standing by his side. Augustus was known to have wept when Virgil recited Book VI of the Aeneid to him, thus the viewer and Aeneas are one and the same - watching the great Emperor of Rome weep as an old man. Restorations, 340cm high x 490cm wideFootnotes:Provenance:Collection of Baron Gustave de Rothschild (1829-1911).Thence by descent, until soldEtude Couturier Nicolay, Hôtel Drouot, Paris, 4 December 1987, lot 187.'Provenant des Anciennes Collections du Baron Gustave Rothschild de Chateau Beychevelle et appurtenant a divers amateurs,'Precedents/comparatives:Patrons of Trojan Tapestry sets from the 15th and 16th century include: Federico da Montefeltro, Duke of Urbino, Henry VII and VIII of England, King Matthias Corvinus of Hungary, Charles VIII of France, Ferdinand I of Naples and Ludovico il Moro Duke of Milan. So while we do not know exactly who commissioned this tapestry (presumably part of a set) there is sufficient stylistic and iconographic evidence to suggest it was a noble or even Royal patron.Pasquier Grenier in Tournai: The 11 piece tapestry set depicting the story of Troy was given to Charles Bold by the City of Bruges when he married Margaret of York. The Trojan War Tapestries were supplied by Pasquier Grenier of Tournai to Charles the Bold of Burgandy in 1472 and another set to Henry VII of England in 1488. It is possible that a re-surge in enthusiasm for Troy as a subject became popular after the fall of Constantinople in 1453.The designs for these Trojan War tapestries were based more on literary references like Benoit de Sainte Maure's 'Roman de Troie (c.1180) rather than the better known Homer's Iliad or Virgil's Aeneid. Some Northern European Courts who had a set of tapestries showing the story of Troy claimed these had come directly from Aeneas. Some European Royal families even claimed Aeneas as a direct ancestor. This is understandable since Aeneas arguably exemplified not just a link between Troy and Rome but the leap from ancient paganism to imperial civilisation.Trojan War Series (La Guerra de Troya): This series comprised eleven tapestries -today there are four permanently at the Zamora Cathedral. These four were donated by Count Alba de Aliste and they arrived at the Cathedral in 1608. Count Alba was probably given these by the Count of Tendilla (their coat of arms are visible) This does not, however mean that they were the commissioners -their coat of arms were later added to the tapestry. Los Honores: Woven by Pieter van Aelst -they were completed in 1523. Pieter van Aelst however, had to mortgage the set to the Antwerp agents of the Fuggers -a family of merchant princes in Germany. Van Aelst in fact said to his creditors that they should offer the expensive tapestries for sale to Charles V -the person who they had been woven for in the first place. The Fuggers took up this suggestion and the central panel of the set was sent to Charles V as a sample. The Emperor only came to posses all of the tapestries in 1526 when he was in Seville. Sadly, no cartoons for this set survives but over the years a number of designers have been suggested -including Bernaert van Orley. The iconography of this set, much like the present lot present not just full of rich literary allusions but also the iconography of Royal ethics, namely Honour, Nobility and Fame. The tapestry of fame in terms of composition is not dissimilar to the composition of the present lot, with the central 'enshrined' figures surround by an active narrative to the top and bottom left and right (see illustration).Don Carlos tapestry sets: The eldest son of King Philip II of Spain, whose short life has fascinated historians for centuries, is less often remembered for being an avid art collector. His collection of tapestries is well documented and we know that in the mid 16th century he owned six figurative sets of tapestries including ten of the History of Aeneas, six of the History of Hercules, 12 of the Twelve Months, 11 of the History of the gods and nine of Creation and seen of the Battle of Pavia. We know that his father, Philip had bought a large amount of tapestries between 1549 and 1550 when he visited the Netherlands. The most well-known of these, still in the Royal Collection are the Moralides (again see illustration here for similarities with the intricate Brussels border and character labels previously mentioned). It is possible that other mythological pieces may have gone to Don Carlos. His series on the story of Aeneas was purchased at Medina del Campo -which was an important centre for the sale of Flemish tapestries. In England: Interestingly, we know that, like his father, Henry VIII was an enthusiastic art collector. Aeneas seems to have been a popular subject here too and 'Aeneas Relating his Adventures to Dido' woven in Brussels c.1530 formed part of his collection as well as 'Aeneas meeting his Mother Venus'. Five pieces of the Story of Aeneas remained at Whitehall until the late 17th century. The designer for this set is thought to be someone from the circle of Van Orley. Interestingly Mary Queen of Scots had 'one tapestrie of the sailing of Eneas contening aucht peces' at Holyrood House.Hapsburg Patronage:The patronage of the Hapsburgs and the influence of the Spanish Monarchy on artistic production in Northern Europe.After the Netherlands became part of the Spanish Kingdom, places like Oudenaarde and Brussels filled the Spanish court with pieces from their workshops.The Hapsburg/ Spanish monarchy were highly influential when it came to artistic production in the Low countries. The idea of the 'vida noble,' the noble life -was filled with jewels, carpets, relics and manuscripts etc. The two main artistic centres -Flanders and Italy were under Hapsburg control during this period. When it came to selecting subject ... 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

A Renaissance fragmentary marble figure of a Classical maidenNorthern France or Flemish, mid-16th century Modelled standing and classical draped in fabric, on an oval base and together with a later display plinth, 43cm wide, 29cm deep, 101cm high (17in wide, 11.5in deep, 40in high) Footnotes:Following the Renaissance convention, it is possible that the present fragmentary sculpture once represented one of three theological virtues (Faith, Hope and Charity) endorsed by the church during the Middle Ages. The elegantly carved folded drapery has been expertly executed and appears to move against the figure's skin as if invigorated by an unseen breeze. The present fragment recalls the work of the Flemish sculptor and architect Jacques Du Broeucq (c. 1500-1584). Note, for example Du Broeucq's stately virtues carved for Sainte-Waudru in Mons, Belgium. These Du Broeucq sculptures are executed in straightforward poses, enlivened by drapery that clings to the torso but sweeps around the legs in broader swaths. Another figure whose carving is worth comparison to the drapery of the present work is that of Charity, attributed to the circle of Jacques du Broeucq and preserved in the collection of The Metropolitan Museum of Art, New York (accession number: 65.110).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

A contemporary abstract garden sculpture together with a bird bath, the blue metal sculpture of spiral form, on stand, 122 cm high

A large contemporary candlestick , height 46cm (excluding candle), together with a wooden sculpture of a hand and a model of a blue and gilt female holding an orb (AF)

Stranglers LPs, eighteen albums including UK and Overseas releases and limited editions and with titles including IV, Black and White, Aurul Sculpture, The Raven, Feline, No More Heroes, Dreamtime, Live (X Cert), La Follies, Off The Beaten Track - sold together with three Stranglers Lyric Sheets - various years and conditions

Cellini, Benvenuto. The Treatises on Goldsmithing and Sculpture, trans. C. R. Ashbee, Essex House Press, 1898. No. 264 of 600 copies, 4to., orig. buckram uncut, paper spine label. Engraved plates/Provenance: Spetchley Park

A Modernist hardstone portrait sculpture, 22cm high, together with two bronze sculptures of deer, 22cm and 15cm high, and an Indian metal dish on stand, 32cm high (4)Condition report: Surface scratches to sculpture, dish detached from stand

South American School, Standing peasant girl with straw hat, painted terracotta sculpture, on rectangular stone plinth base, 68cm highCondition report: Weathered patination to sculpture, chips to base

A Pacific Art sculpture of a cellist, 50cm high,Condition report: Small areas of paint deposit, minor scuffs to ebonised base

A contemporary carbon fibre sculpture, modelled as an oversize red apple with stalk, 45cm highCondition report: Some minor scratches to the surface.

*Dame Elisabeth Frink (1930-1993) bronze ‘Bird’, signed and dated ‘52 2/6, 20cm high x 24cm wide x 30cm deep, this sculpture was later cast with the assistance of the Frink Estate, taken from a plaster maquette formerly in the collection of Peter and Georgette Collins which was purchased directly from Frink whilst she was still a student. This sculpture featured in the 2008 Mumford Fine Art ‘Unknown Frink’ exhibition and although not included in the 1984 catalogue raisonné, relates closely to the 1952 ‘Bird’, purchased the following year by The Tate which ‘launched’ her career, one of a number of bird figures which Frink created at the start of her career, only a few known survivors from the period exist, other than the Tate bird, other owners included Benjamin Britten and The Arts Council of Great Britain, during this early period of Frink’s career she could rarely afford the bronze casting procedure so many maquettes remained un-cast and were subsequently lost, Peter and Georgette Collins played a significant role in preserving a number of these early works. Provenance: Peter & Georgette Collins, Stanley Studios, Chelsea, thence by descent

*Leon Underwood (1890-1975) limited edition late bronze sculpture - The Pursuit of Ideas, signed and dated ‘70, numbered I/VII, on hardwood base, 28cm high overall x 33cm long overall x 14cm wideCondition report: Good original conditionProvenance: purchased by a collector of Underwood's and someone who was acquainted with the artist. Thence by family descent. Height of sculpture minus base 25.5cm