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20" BRONZE GREEK SOLDIER SCULPTURE ON WOODEN PLINTH

7" BRONZE RACEHORSE & JOCKEY SCULPTURE, CHAMPION FINISH BY DAVID CORNELL DATED 1985

DRIFT WOOD SCULPTURE, WOODEN SCULPTURE & HAMMERED BRONZE STYLE CANDLE HOLDER

plaster sculptures 15cm tall each Provenance: The estate of the artist Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

plaster sculpture 12cm high, 20cm long, including base Provenance: The estate of the artist Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

plaster sculpture, initialled and dated 1996 15cm x 17cm Provenance: The estate of the artist. Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

Ca. 9th - 10th century AD.An exceptional gilded bronze bodhisattva. Seated in the padmasana lotus position, the figure is shown wearing a crown adorned with delicate details; the excellent metalwork displayed through necklaces, armlets and earrings. This is an outstanding example of early Nepalese Buddhist sculpture. Buddhist art during the Licchavi period displays strong Gupta style, with works made mainly in bronze and stone, displaying advanced metal casting techniques. The influence of this period marks a significant era for the development of Himalayan Buddhist art.Size: 220mm x 155mm; Weight: 3.63kg Provenance: Private UK collection, purchased in 2024 from a collection of Kensington Church Street gentleman who acquired the piece on the Asian art market in the early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plasterExhibited:Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20.Note:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. 59cm high including wooden plinth

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed resinA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 101cm wide

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.),, CIRCA 1968 bronzed plasterA bronze of this sculpture is in the collection of Celtic F.C.Note on both Schotz and Thomson:Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club.Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece.Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal.Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history.40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village. 51cm wide

Children and dogBiscuit porcelain sculpture Reliefs and gilt bronze stanSigned and marked TRIADE(minor losses)36x16x16 cm 

A Chryselephantine female dancer figureArt Deco bronze sculpture Ivory feet, arms, head and rose Alabaster stand France, 20th century (foot, arm and hand broken and glued, minor loss to finger)Height: 37 cm*This item is not legal to sell in the UK*CITES CERTIFICATE: 24PTLX10976C

Art Deco bronze sculptureIvory feet and bodyVarious marbles standFrance, 20th centuryHeight: 27,5 cm (sculpture) Height: 44,5 cm (total)*This item is not legal to sell in the UK*CITES CERTIFICATE: 24PTLX10968C 

A chryselephantine dancer with hoop figureGilt bronze Art Deco sculpture of ivory arms, legs and head Hardstone stand Signed France, 20th century (broken and glued arm, minor loss to a finger and dented hoop)17,8x11 cm*This item is not legal to sell in the UK*CITES CERTIFICATE: 24PTLX10964C

"Leaving the Opera", chryselephantine figureArt Deco patinated bronze sculpture Ivory head and hand Marble stand Signed to stand and marked "bronze" France, 20th centuryHeight: 22,3 cm*This item is not legal to sell in the UK*CITES CERTIFICATE: 24PTLX10969C

Édouard Marcel Sandoz (1881-1971), Chat assis , 1926, sculpture en bronze, signée et marquée 1ère Epreuve , cachet de fondeur Susse Frères Paris, marquée Susse Fres EdMS Paris , 42x23x21 cmProvenance : Vente Christie's, New York, 8-9 décembre 1995, no. 94, Collection de la famille Ghezzi, originaire de Zurich, joailliers et antiquaires depuis près d'un siècleBibliographie: Felix Marcilhac, Edouard Marcel Sandoz, catalogue raisonné de l'oeuvre sculpté, les éditions de l'amateur, Paris, 1993, p. 329, no. 392, (une autre épreuve illustrée), Fondation de l'Hermitage, Lausanne, Edouard Marcel Sandoz, Sculpteur figuriste et animalier 1881-1971, Fondation de l'Hermitage, Lausanne, 1995, p. 37, no. 18, (une autre épreuve illustrée)Collection de la famille Ghezzi La Maison Piguet a le plaisir et l'honneur de vous présenter une sélection de la collection de la famille Ghezzi, joailliers et antiquaires depuis près d'un siècle.Dans les années 1940, Giacomo Ghezzi (1914-1995) ouvre deux bijouteries, l'une à Zurich (près de la Bahnhofstrasse), l'autre à Saint-Moritz, et sa femme Philomena un magasin d'antiquités à Zurich. De par leurs fréquents voyages, en Chine notamment, ils nourrissent également une véritable fascination pour les Arts d'Extrême-Orient. Ils transmettent leurs passions à leur fils, Fermo (1938-2006), qui devient joaillier en 1958 et travaille comme consultant pour de prestigieuses maisons de vente aux enchères, avant de rejoindre l'entreprise familiale. Féru d'art, il collectionne assidûment l'Art nouveau, l'Art déco et les arts de la Chine et du Japon. Unis dans cette passion, Fermo et son épouse parcourent le monde, complétant leur collection au fil de leurs coups de coeur. Insatiables et infatigables, ils rassemblent ainsi de très nombreux objets d'art avec lequel ils décorent avec soin leurs propriétés de Saint-Moritz et du canton de Vaud. La collection comprend 137 lots rassemblant de nombreux domaines. Relevons notamment des oeuvres telles que le chat assis par Édouard-Marcel Sandoz (lot 18), un bracelet en or gris serti de lapis-lazuli (lot 4370), un paysage de montagne attribué à Alexandre Calame (lot 2), ou encore des canards en émaux cloisonnés chinois du XVIIIe siècle (lot 1647). L'entièreté de la collection peut être retrouvée en indiquant sur notre site le mot-clé "Ghezzi" dans la barre de recherche et en scannant le QR code ci-dessus. La suite de la collection sera présentée dans nos futures ventes de mars 2025 et juin 2025.Édouard Marcel Sandoz (1881-1971) - Chat assis La sculpture Chat assis de René Sandoz, réalisée en 1926, incarne l'une des oeuvres les plus remarquables du sculpteur dans le domaine de l'art animalier moderne. En choisissant de représenter un chat dans une posture tranquille et gracile, Sandoz parvient à allier réalisme et abstraction, créant une silhouette épurée qui conserve la fluidité et la légèreté de l'animal.Contrairement aux artistes animaliers de son temps qui privilégient des représentations plus dynamiques ou dramatiques des animaux, Sandoz opte pour une approche plus subtile, réduisant l'animal à des lignes essentielles tout en exprimant sa sensualité et son élégance naturelles. Sandoz parvient à fusionner l'esthétique de l'art déco avec une sensibilité moderniste unique. Tout en conservant les lignes géométriques caractéristiques du mouvement, il y injecte une profondeur émotionnelle et une tranquillité rarement présente dans les représentations animales de l'époque. L'oeuvre se distingue ainsi par sa capacité à capturer non seulement la forme mais aussi l'âme de l'animal, offrant une vision à la fois contemporaine et intemporelle. Exécutée en bronze, d'un très faible tirage, l'oeuvre possède une magnifique patine brune subtile et très soignée mettant en valeur la pureté des courbes et confère un rendu velouté et lumineux. Restée dans une collection privée vaudoise, la sculpture est inédite sur le marché depuis presque 30 ans.

Ugo Rondinone (1964), The Wave , 2013, sculpture en bronze , éd. 1/3 + 2 EA, monogrammée, datée et titrée et inscrit 11 , 21,5x9,5x33 cmWebographie: l'oeuvre est illustrée sur le site internet de l'artiste, https://ugorondinone.com/artwork/horse11/Exposition: Primal, Esther Shipper, Berlin, du 26 avril au 1er juin 2013Collection Bibi GrittiBibi Gritti, architecte d'intérieur d'origine viennoise, est aujourd'hui établie à Gstaad. Passionnée d'art contemporain, elle allie son rôle de collectionneuse à celui de mécène, investissant activement dans ce domaine. Son engagement artistique influence profondément sa vie, la poussant à explorer constamment de nouvelles formes d'expression. Investie au sein de comités prestigieux tels que le MoMA à New York et le Musée d'Art Moderne de Paris, elle contribue activement à la préservation et à la valorisation de l'art contemporain. À travers son rôle dans des festivals renommés comme ceux de Salzbourg et de Gstaad, ainsi que dans l'organisation d'expositions et de concerts, elle soutient des artistes talentueux et promeut leurs créations. Proches des artistes, elle côtoie les ateliers de Robert Longo, Georg Baselitz, Anselm Kiefer et Jeff Koons. Les lots mis en vente à la criée et les lots en Vente Online proviennent de sa collection personnelle et ont été acquis dans des Galeries internationales les plus prestigieuses.

Salvador Dali (1904-1989), Le Minotaure , 1981, sculpture en bronze, signée, numérotée 49/99 et cachet du fondeur C. Valsuani, h. 76 cm Certificat d'authenticité de M. Leonardo Benatov fils, daté du 24 mai 2008 (autre épreuve illustrée à tête noire). Bibliographie: Robert et Nicolas Descharnes, Dalí: le dur et le mou, Sortilège et magie des formes: sculptures et objets, Azay-le-Rideau : Eccart, 2003, p. 253, no. 628 (une autre épreuve illustrée)

Salvador Dali (1904-1989), Grande Venus de Milo aux tiroirs , modèle de 1964, sculpture en bronze vert florentin, 2004, signée, numérotée 54/99, cachet de fondeur C. Valsuani-cire perdue , marqué VF , 76 cm Certificat d'authenticité de Leonardo Benatov, Paris, 24 mai 2008Bibliographie: Robert Descharnes, Nicolas Descharnes, Dali, Le dur et le mou, Sortilège et magie des formes, Sculptures &, Objets, éd. Eccart, 2003, no 68, p. 37, ill.

Julio González (1876-1942), Femme dite Les trois plis , 1984, modèle c. 1931-1932, sculpture en bronze à patine brun foncé, éd. 1/2, inscrit J. González © , cachet de fondeur E. Godard Fond , 121x27,7x16 cm (hors socle) et h. 136 (avec socle)Provenance: Succession de l'artiste, Paris, Galerie de France, Paris, 1989, Collection Jean-Pierre CassigneulBibliographie: Jörn Merkert, Julio González: Catalogue raisonné des sculptures, Electa Spa, Milan, 1987, p. 121, no. 130, (une autre épreuve illustrée), Tomás et Boye Llorens, Julio González: Catalogo general razonado de le pintures, esculturas y dibujos, Vol. V. 1928-1935, Fundación Azcona, Madrid, 2022, no. 3017 (une autre épreuve illustrée)Exposition: Galerie Pieter Coray, Selezione: sculture e disegni, Editions Galleria Pieter Coray Lugano, 1984, no. 9Exécutée en fer vers 1931-32 et coulée en bronze en 1984 dans une édition de 2 et quatre épreuves marquées 0, 00, EA et HCJulio González (1876-1942) - Femme dite Les trois plis La sculpture Femme dite aux trois plis de Julio González, réalisée dans les années 1930, est une oeuvre majeure du début du XXe s. qui incarne la transition d'une représentation réaliste vers une abstraction géométrique.L'oeuvre représente une figure féminine stylisée, réduite à des formes géométriques simples, sans détails réalistes. Les trois plis verticaux, évoquant une jupe, sont les éléments structurants de la forme qui créent un équilibre visuel entre stabilité et légèreté. Cette simplification de la silhouette humaine traduit la volonté de González d'abandonner les conventions traditionnelles de la sculpture figurative pour explorer de nouvelles dimensions de l'espace et de la forme. Influencé par sa collaboration avec Picasso, González adopte une technique qu'il définit comme un dessin dans l'espace , où il joue avec la tridimensionnalité sans recourir à des représentations pleines et fermées. Le métal, qu'il façonne avec une grande maîtrise, devient le moyen d'exprimer la fluidité de l'abstraction tout en suggérant subtilement le corps humain. Le choix du métal fait ici par l'artiste est un tournant central dans la modernisation de la sculpture anticipant l'utilisation de matériaux industriels dans les courants du minimalisme et de l'art contemporain. Le bronze, coulé seulement 2 exemplaires (hors EA), capte les subtilités du modelé avec une grande précision, tout en préservant la rigueur des lignes géométriques. Plus noble et durable que le fer forgé, il confère à l'oeuvre une dimension intemporelle. Au coeur de cette sculpture se trouve une recherche de fusion de la part de l'artiste entre sculpture, dessin et abstraction influencée par le cubisme qui positionne Julio González comme un pionnier de l'avant-garde de l'art contemporain.Collection Jean-Pierre Cassigneul - Peintre et collectionneurJean-Pierre Cassigneul, né en 1935 à Paris, est un peintre français qui grandit au coeur de la haute couture, entouré par l'univers de la maison Jean Dessès fondée par son grand-père.Très tôt, il s'imprègne de l'élégance, des couleurs, des motifs et des textures qui se retrouvent dans son oeuvre. Diplômé des Beaux-Arts, il connaît une ascension rapide grâce notamment à sa rencontre déterminante avec le marchand d'art japonais Kiyoshi Tamenaga, qui lui achète plusieurs oeuvres lors de l'une de ses premières expositions. Le succès international de ses oeuvres en Asie, notamment au Japon où il devient un véritable phénomène dès les années 70, et aux États-Unis, témoigne de la pérennité de son style et de son influence. Tout au long de sa carrière, il a pris plaisir à nouer des amitiés durables avec des artistes de son époque, comme Bernard Buffet et Marcel Fleiss. Douceur de Mai est une toile réalisée dans les années 1980 qui met en scène un vocabulaire en tout point représentatif de la démarche artistique du peintre. La femme est au coeur de sa peinture et elle se pare le plus souvent des plus beaux atouts : soit du bleu serein d'un paysage marin ou lacustre, soit d'une nature luxuriante d'un jardin aux mille fleurs. La recherche d'une élégance mystique, personnifiée par une figure féminine immuable et raffinée dans des décors intemporels, est un leitmotiv dans son oeuvre. À travers ses toiles, Jean-Pierre Cassigneul tisse un dialogue subtil entre la beauté classique et une modernité délicate, prenant ses distances avec les courants dominants et avant- gardistes tout en les réinterprétant à sa manière. Cette toile n'a jamais été présentée sur le marché et provient de sa collection personnelle, qui regroupe très peu de ses réalisations. Peintre et collectionneur, Jean-Pierre Cassigneul a pris soin de s'entourer d'oeuvres d'artistes qu'il affectionne et de techniques novatrices pour leur époque, acquises dans des galeries et des ventes de renom. Cela comprend notamment des séries lithographiques de peintres nabis comme Bonnard (lot 22 et 23) ou Vuillard, qu'il admirait pour leur traitement de la couleur et la force de suggestion de leur travail, ou encore le bronze de González (lot 32) qui reprend son thème de prédilection : la figure féminine.

César (1921-1998), Orfèvrerie 11bis , 1972, compression, signée, 28x15x15 cmCette oeuvre sera incluse dans le Catalogue raisonné de César actuellement en préparation par Madame Denyse Durand-Ruel. Cette oeuvre est enregistrée dans les Archives de Madame Denyse Durand-Ruel sous le no. 4159Provenance: Acquis il y a plus de 50 ans, puis resté dans la famille.César (1921-1998) - Orfèvrerie 11bis Orfèvrerie 11 de César, réalisée en 1972, se distingue comme une oeuvre phare de la période des compressions du sculpteur. L'artiste transforme des objets quotidiens et industriels, tels que des câbles, des poignées en bronze et des fils de laiton, en une masse compacte et géométrique. Ce procédé témoigne de son intérêt pour la déconstruction des valeurs traditionnelles attachées à la beauté et au luxe, tout en soulignant la matérialité brute de la société industrielle.Cette sculpture s'inscrit dans un contexte historique marqué par l'essor de la consommation de masse des Trente Glorieuses, mais aussi par une remise en question des hiérarchies établies dans le domaine de l'art. En comprimant ces éléments décoratifs, César interroge la superficialité des notions de valeur et d'orfèvrerie, tout en mettant en lumière la beauté cachée dans des objets banals, voués à l'oubli. La transformation de ces matériaux en une forme abstraite et compacte confère à l'oeuvre une dimension intemporelle, tout en dénonçant les excès de l'industrialisation et de la société de consommation. Dans ce geste, César anticipe des courants artistiques comme le minimalisme et le postmodernisme, en réduisant les objets à leur essence matérielle tout en explorant leur potentiel esthétique. Orfèvrerie 11 ne se contente pas de questionner les catégories de luxe et d'industrie, mais participe également à une réévaluation de la sculpture moderne en rompant avec les formes classiques et en explorant de nouvelles façons de manipuler la matière. Elle reste un symbole de l'innovation radicale de l'artiste et un jalon dans l'histoire de l'art contemporain.

Terence Coventry (1938-2017) bronze, "Cuckoo" 2013, 48cm (1 of 10), with Gallery Pangolin receipt and certificate October 2022  From the collection of the late Maurice Costley  Terence Coventry was taught by Keith Leonard, former studio assistant to Barbara Hepworth, at Stourbridge School of Art. He studied at the RCA then spent 25 years farming in Cornwall, before returning to sculpture, with his first solo exhibition at the age of 71.

A Paul Jenkins bronze effect sculpture of a seated hare, initialled 'PJ' near tail, 47cm tall.

Philippe PASQUA (Né en 1965) Vanité aux papillons, 2011. Sculpture en bronze à patine brune et doré, signée et datée par l’artiste. 48 x 48 x 22 cm. Un certificat d'authenticité accompagne l’œuvre.

Hannes D'HAESE (Né en 1965) Mickey in space Sculpture en bronze doré. Signé et numéroté E.A 1/4 sur la base Hauteur : 38 cm.

Hannes D'HAESE (Né en 1965) & Brian TRAVERS The Evil Child. Sculpture en bronze doré. Signé et numéroté E.A 1/4 au dos. Hauteur : 30 cm. Création en collaboration avec Brian Travers, saxofonist de UB40).

A bronze sculpture after the Flying Horse of Gansu, 17 cm. The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

quite big antique Japanese "Kannon" sculpture in bronze with cloisonné and inlaid cabochons Kannon is the Japanese manifestation of the Bodhisattva Avalokitesvara Vrij grote antieke Japanse sculptuur in brons met cloisonné en met ingelegde cabochons : "Gekroonde Kannon" (Japanse manifestatie van Bodhisattva Avalokitesvara) - hoogte : 134,5 cm prov : uit een oude Belgische collectie

quite big antique Chinese "Confucius on a donkey" sculpture in bronze and cloisonnéVrij grote antieke Chinese sculptuur in brons en cloisonné : "Confucius zittend op een ezel" - hoogte en breedte : 66,5 en 63 cm prov : uit een oude Belgische collectie

various lot with a Chinese archaic style recipient in bronze and a Himalayan "Deity" sculpture in an copper alloyLot met een Chinees recipiënt met archaïsche vorm met deksel en greep en archaïsche ornamentiek (16 cm hoog) en een sculptuur uit de Himalaya-gebieden in een koperlegering (17,5 cm hoog)

20th Cent. Thai bronze "Head of Buddha" sculpture20ste eeuwse Thaise sculptuur in brons : "Hoofd van Boeddha" - hoogte : 17,5 cm - op houten sokkel

19th Cent. Siamese Rattanakosin period "Standing monk" sculpture in gilded bronzeTHAILAND - RATTANAKOSIN PERIODE - 19° EEUW sculptuur in gedoreerde brons : "Staande boeddhistische monnik" - hoogte : 132 cm prov : uit een oude Belgische collectie

18th Cent. Burmese Shan period "Buddha" sculpture in gilded bronzeBIRMA - SHAN PERIODE - 18° EEUW sculptuur in gedoreerde brons : "Zittende Boeddha" - hoogte : 35 cm prov : uit een oude Belgische collectie

19th Cent. Siamese Rattanakosin period "Buddha of the future" sculpture in gilded bronze this statue has two small removable sculptures, which can be taken on journey for prayingTHAILAND - RATTANAKOSIN PERIODE - 19° EEUW sculptuur in gedoreerde brons met de voorstelling van de "Boeddha van de Toekomst" met zittend figuur waarvoor op een hoge trap geknielde monniken en "Boeddha" staan - hoogte en breedte : 51 en 47,5 cm Dit beeld heeft twee afneembare beeldjes die men kon meenemen op reis om te bidden prov : collectie uit het Groothertogdom Luxemburg

early 19th Cent. Siamese Rattanakosin period "Blessing Buddha" sculpture on its original base in gilded bronzeTHAILAND - RATTANAKOSIN PERIODE - vroege 19° EEUW sculptuur op de originele sokkel met vier "trappen" in gedoreerde brons : "Zegenende Boeddha" - hoogte : 107 cm prov : uit een oude Belgische collectie

antique Japanese "Senju Kannon" (Goddess of Compassion) sculpture in bronze with cloisonnéAntieke Japanse sculptuur in brons met cloisonné met de voorstelling van de twaalfarmige bodhisattva "Senju Kannon" (Godin van medelijden) - hoogte : 66 cm prov : uit een oude Belgische collectie

nice19th Cent. Burmese Mandalay period "Buddha head" sculpture in bronze with inlaid eyesBIRMA - MANDALAY PERIODE - 19° EEUW fraaie sculptuur in brons met ingelegde ogen : "Hoofd van Boeddha" - hoogte : 30 cm - gemonteerd prov : collectie uit het Groothertogdom Luxemburg

15th Cent. Siamese Ayutthaya period fragment of a bronze sculptureTHAILAND - AYUTTHAYA PERIODE - 15° EEUW fragment van een buste in brons - hoogte : 22,5 cm - gemonteerd prov : collectie uit het Groothertogdom Luxemburg

late 17th Cent. Burmese Shan period "Buddha" sculpture in bronzeBIRMA - SHAN PERIODE - EIND 17° EEUW sculptuur in brons met typische Shan vormgeving : "Zittende gekroonde Boeddha" - hoogte : 34 cm prov : collectie uit het Groothertogdom Luxemburg

Chinese Buddhistic "Avalokitesvara" sculpture in bronzeChinese Boeddhistische sculptuur in brons met de voorstelling van Avalokitesvara (met Boeddha-beeldje op het hoofd) - hoogte : 38 cm

antique Siamese "Dancer" sculpture in bronze - on an European wooden baseAntieke Thaise sculptuur in brons : "Danser" - op een houten sokkel gemonteerd - hoogte : 53 cm

small antique Siamese Rattanakosin period "Buddha" sculpture in gilded bronzeKleine antieke Thaise sculptuur uit de Rattanakosin-periode in gedoreerde brons : "Zittende Boeddha" - hoogte : 18 cm

antique Siamese "Buddha" sculpture in bronzeAntieke Thaise sculptuur in brons : "Zittende Boeddha" - hoogte : 30,2 cm

A bronze abstract sculpture, two dancing figures, on a marble plinth  19"h

A bronze abstract sculpture, a standing figure, on a marble plinth  17"h

* TERRY OWEN MATHEWS (BRITISH 1931 - 2008) A SUNBIRD bronze sculpture, signed (T O Mathews) and numbered #1 (understood to be unique and not one of an edition) , dated 199834cm highNote: Terry Mathews was born in England in 1931, brought up in Uganda, and educated in Kenya and England. His life as a child in Uganda was enriched by his close association with his next-door neighbour, Captain Charles Pitman, the renowned Chief Game Warden of that country. With a family greatly involved in African wildlife, Mathews passion for animals transcended into his secondary profession as a sculptor. Despite losing sight in his lead eye, Mathews sculptures continued to evolve and grow into cast bronze pieces that captured the movement and freedom of the beloved wildlife he surrounded himself by. With his experience of being in the bush with wildlife on many photographic and collecting Safaris, Mathews was able to take the time to study animals and birds, enabling his pieces to take on a lifelike appearance despite the lack of anatomical research. Mathews believed that, “The movement is more important than the anatomical detail.” Situated in Kenya, Mathew’s work was cast and finished in a foundry founded by his son. There, he was able to follow the casting process closely to ensure his sculpture embody the vision of his initial creation. Mathews also worked with well-known sculptors like John Skeaping, William Timym, Johnathan Kenworthy and Rob Glenn. Mathews work has been shown in Europe, Africa and the United States. Terry was a strong supporter of conservation organizations, having contributed many bronzes to a number of conservation organizations including: Game Conservation International (contributed ten bronzes), Friends of Conservation, Kuki Gallmann's Ranch, The David Sheldrick Wildlife Trust, Rhino Rescue, Rhino Ark, Kenya Wildlife Service, Nairobi National Park, East African Wildlife Society, Cullman & Hurt Community Wildlife Project (Terry was Vice Chairman for a number of years and contributed three bronzes ) and, World Wide Fund for Nature. In addition, he was on the Advisory Committee of the David Sheldrick Wildlife Trust and in 1990 donated a full size Rhino Cow and Calf to act as a begging bowl for the Rhino Conservation Movement which now stands at the entrance to the Nairobi National Park. Later Terry was commissioned by the WWF and the East Africa Wildlife Society to build a monument to the burning of the ivory. The bronze was cast by Terry's son Denis in Nairobi and provided at cost. It now stands at the site of the original burning of the 12 tons of ivory.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), MONDRIAN HEAD plaster sculpture, signed to bottom with stock number, together with wooden base 28cm high, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), THE RABBIT plaster sculpture12cm high, 20cm long, including base Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* ENZO PLAZZOTTA (ITALIAN 1921 - 1981), SPIRIT OF FREEDOM bronze sculpture with rich brown patina, stamped with the Plazzotta seal and numbered 34 inscribed title to plaque, on marble base 33cm high Provenance: Enzo Plazzotta Catalogue Raisonne No 329 illustrated page 171.Note: Enzo Plazzotta was born in Mestre, near Venice, in 1921 and spent his student days in Milan studying sculptural drawing and modelling under Giocomo Manzu at the Academia di Brera, and architecture at the Politecnicao. He decided to specialise in sculpture, but his studies were interrupted by World War ll. Plazzotta became a member of the Italian Resistance Movement and fought in the Ossola region as a partisan. He was captured as a result of a secret political meeting held in Milan and spent nearly a year in solitary confinement. While being transferred to a German prisoner of war camp, however, he managed to escape and rejoin the partisans. Plazzotta was engaged in guerrilla activities and in conjunction with the British Special Forces was on the organising end of a clandestine escape route for Jews and escaped Allied prisoners of war en route from Italy to Switzerland. Through these contacts with British Intelligence he was involved in the repatriation of Ferruccio Parri, the leader of the Italian Resistance, from Switzerland to Italy. Parri later became Italy's first prime minister after the war ended. Plazzotta's wartime record won him the Silver Medal for Military Valour. After the war, Plazzotta resumed his studies in Milan, and in 1947 received his first commission, appropriately enough from the Italian Committee of Liberation. This was to be their tribute to their successful wartime collaboration with the British Special Forces. The bronze sculpture was entitled Spirit of Rebellion and depicted the boy David with the head of Goliath. Plazzotta himself was chosen to make the presentation to the Special Forces Club headquarters in London, and the bronze still has a place of honour there today. This first visit to London played a major part in shaping Plazzotta's career, for he quickly decided to make London his permanent place of residence. From his first studio in London he received several portrait commissions and, in 1949, held his first exhibition at the former Brook Street Gallery, to be followed by many others. "Spirit of Freedom" was also commissioned by The Special Forces Club (London) as confirmed in the Catalogue Raisonne. One of his first public commissions was a monument to commemorate the 700th anniversary of the Battle of Lewes, and after this time he began to explore the themes for which he has become well known, specialising in studies of dance, the horse and the female form – all of which exude vitality and movement. His style, based on the classical lines of the Renaissance, reflects perfectly his own admiration for such great masters as Michelangelo and Rodin. He lived in Chelsea and worked from the studio formerly owned by the late Sir Charles Wheeler. Major public sculptures by Enzo Plazzotta include: Camargue Horses, on the Waterside Terrace at The Barbican Centre, London; The Cruxifixion, in the College Gardens of Westminster Abbey; Homage to Leonardo. Belgrave Square, London; Jeté, on the corner of 46 -57 Millbank, Westminster, London; The Hand of Christ, Dinand Library at the College of the Holy Cross, Worcester, Massachusetts, USA; The Helmet, Lewes Priory; Two Brothers, Boys Town, Nebraska, USA; Young Dancer, Royal Opera House, Broad Street, London. The estate of Enzo Plazzotta is handled by Chris Beetles Gallery (London) and their website at the time of writing shows "Spirit of Freedom" priced at £2750.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), WHITE DOVE 1996 plaster sculpture, initialled and dated 199615cm x 17cm Provenance: The estate of the artist.Note 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), TWO CLENCHED FISTS plaster sculptures15cm tall each Provenance: The estate of the artistNote 1: Born in Scotland to Italian parents, Paolozzi attended evening classes at the Edinburgh College of Art and studied at St. Martin’s School of Art, later transferring to London’s Slade School of Art, where he graduated in 1947. He moved to Paris for three years where he became involved in Dadaism and Surrealism. In 1950, Paolozzi returned to London, quickly becoming a leading member of the Independent Group. As a significant member of the Group, Paolozzi greatly influenced the development of Pop Art. He taught all over the world as guest professor and lecturer, and was knighted in 1988. Eduardo Paolozzi died in 2005. Note 2 : Paolozzi began to make the quasi-cubist sculptures which were to figure among his signature works, in the 1970s. The plaster sculptures now offered for sale fit loosely into this aspect of his work, but were executed in the 1990’s. Paolozzi was particularly keen that plaster should achieve a higher status than had previously been the case and his works in the medium were often not cast in any other material. They were cast from a variety of sources, some being taken from the 'ready-mades' in his studio, while others were made to the artist's original, sometimes existing designs. There is a larger version of the Mondrian head in the National galleries of Scotland cast in Bronze and a similar work in Bronze conceived in 1993 sold in Christies on 21/10/21 for £56250 (Lot 154, The Molenick Collection) The Tate also have a version of the Mondrian Head which is cast in plaster. The Rabbit was among a number of small animal sculptures made specifically for the Arche Noah, (Noah's Ark), exhibition staged in Munich in 1990. In contrast heads were a constant in Paolozzi's work, from the 1950s onwards, and the large Cubist Head fits within a series made from the late 1980s into the 1990s. The Mondrian Head is clearly a comment upon the effects of technology upon our humanity. Perhaps the most personal of the plaster works here is the two clenched fists, which relates directly to those of Paolozzi's sculpture Daedalus, his body constructed from fragments on a Frankenstinian model. In Greek myth, Daedalus was the builder of the Cretan labyrinth and Paolozzi seems to have seen him as a kindred spirit and probably considered.

Bronze sculpture depicting "HORSES". Signed LAURINI on the base. 39x45x24 cm approx. Scultura in bronzo raffigurante "CAVALLI". Firmata LAURINI sulla base. 39x45x24 cm ca.

RAFFAELLO ROMANELLI (Firenze 1856-1928). Bronze sculpture depicting "CHARLES ALBERT OF SAVOY ON HORSEBACK". Signed at the base. 64x72x26 cm approx. RAFFAELLO ROMANELLI (Firenze 1856-1928). Scultura in bronzo raffigurante "CARLO ALBERTO DI SAVOIA A CAVALLO". Firmata alla base. 64x72x26 cm ca.

GIACOMO MANZU' (Bergamo 1908-Roma 1991). Bronze sculpture depicting "SITTING CARDINAL". Signed lower left. 1980. With foundation certificate and archive number 79/2011. 41x24x21.5 cm approx. GIACOMO MANZU' (Bergamo 1908-Roma 1991). Scultura in bronzo raffigurante "CARDINALE SEDUTO". Firmata in basso a sinistra. 1980. Con certificato della fondazione e numero di archivio 79/2011. 41x24x21,5 cm ca.

A 20th century bronze sculpture of hands, unattributedModelled as two hands touching, on a cuboid base.20cm high

After Everard Meynell (b.1950), Peter PanBronzed cast resin, modelled standing and playing the pipes, set on a rustic 'tree stump' base, No.27 from a limited edition of 30, with certificate from the sculptor.130cm high (figure 99cm high)Footnote:This figure of Peter Pan is based on the 1912 bronze sculpture of J. M. Barrie's character by Sir George Frampton (1860-1928). The original statue was commissioned by Barrie and is situated in Kensington Gardens, London, near Barrie's former home on the Bayswater Road. Six other casts made by Frampton have been erected in other locations including Canada, Australia, Belgium, the USA and another in the UK at Sefton Park, Liverpool. Frampton made a series of small bronze reproductions of the Peter Pan figure from 1913 to his death in 1928, a few of which have appeared at auction including at Bonhams Knightsbridge rooms, Decorative Arts and Contemporary Ceramics, 20 June 2018, lot 10.

Chris Vine (Vinz) (20th Century) Bronze Sculptural Bust of comedian and musical theatre actor Dan Leno (1860-1904), signed, bronze sculpture upon wooden base, total height 38 cm

A Bronze sculpture of a koi carp, approx. 60cm long

A Tessa Pullan bronze sculpture of a Dandie Dinmont, 21cm wide.

Marcus Aurelius (121 a.C.-180 a.C.) after the Ancient, on horseback. On bronze base cast with remains of gilding, very fine hand finishes. Damages. Small part from feet and base missing. After the monumental sculpture at the Musei Capitolini in Rome. 19Th Century. 24 cm high.