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A bronze sculpture of a seated pregnant woman. 10" (26cms) high.

DAMBROS SCULPTURE GROUP bronze and ivory, cast as two workers seated on a bench, signed in the bronze 16cm high

A bronze sculpture of David & Goliath after C.Valton David standing with drawn sword on the head of Goliath, on a bronze socle base, signed 85cm high

A BRONZE SCULPTURE OF TWO RECLINING FIGURES on a wooden plinth, 13" wide x 8" high (see illustration).

Mother and child. Bronze sculpture. Height 10 1/2ins., excluding base.

PAUL MOUNT Bronze sculpture with four elements on a slate base. Base signed. Base 6 1/2 x 4ins. Maximum height of each element 3 1/4ins. (See illustration)

Edwardian bronze sculpture of a nude male athlete, a discus thrower, signed with monogram 'WS' or 'SW' and dated 1905, on a marble rectangular plinth base, 44cm high

Bronze sculpture of a male by Graefner (German School), signed on the base and on a marble plinth, 54cm high

Albany bronze and porcelain sculpture Goldfinch

Mid C20th Bronze Sculpture of a Chubby Cherub held in an open hand signed K Scott with dark green & brown patination, approx. 8 1/2'L x 4 3/4'W x 4'H

The nationally important Order of Merit group of sixteen awarded to Sir Basil Spence (1907-76), the distinguished post-war architect, and architect of Coventry Cathedral The Order of Merit, E.II.R., Civil Division neck badge, gold and enamel, with neck cravat, minor enamel damage; The Most Excellent Order of the British Empire, O.B.E. (Civil) Officers 2nd type breast badge, silver-gilt; 1939-45 Star; France and Germany Star; Defence and War Medals; Efficiency Decoration, E.II.R., Territorial, rev. dated, 1957, these unnamed as issued; Royal Institute of British Architects Silver Medal (1931), obv. a pair of stylized lions either side of a column, rev. inscribed, Board of Architectural Education awarded to Basil Spence, Edinburgh College of Art, School of Architecture, 88mm., silver; Incorporation of Architects in Scotland Medal (1931), obv. bust of Sir R. Rowand Anderson left, by Hazel Armour, rev. Edinburgh Castle, inscribed, Basil Spence, 1931, 58mm., silver; Royal Institute of British Architects Pugin Medal (1933), obv. a pair of stylized lions either side of an ornate column, mural crown above, rev. heraldic shield (Basil Spence Pugin Student, 1933), 57mm., silver, American Institute of Architects Honorary Fellows Badge (1959), by M.A.C., New York, obv. stylized eagle with an olive branch in its talons, superimposed upon a column, rev. inscribed, Basil Spence 1959, oval, 39 x 32.5mm., silver, with suspension mount, with neck cravat; Royal Architectural Institute of Canada Fellows Medal (1960), obv. seated architect in classical garments, a winged cherub presents a sprig of foliage, a temple in the background, rev. inscription (name and date engraved), Basil Spence, Honourary Fellow of the Royal Architectural Institute of Canada 1960, 46mm., bronze-gilt, ring suspension, with neck cravat; Royal Institute of British Architects Bronze Medal (1963), obv. a pair of stylized lions either side of a column, rev. two builders at work, St. Pauls Cathedral in the background (Sir Basil Spence, O.M., O.B.E., T.D., R.A., A.R.S.A., R.D.I., P.P.R.I.B.A. Falmer House, The University of Sussex, Falmer, Brighton), 63mm., bronze; City of Coventry Award of Merit (1970), obv. stylized phoenix rising from the flames, three crosses in the background, rev. plain, rectangular, 45 x 26mm., gold, 30.7g., hallmarks for Birmingham, unnamed, complete with gold and enamel brooch bar, inscribed, Coventry Award of Merit; Medal of the Academia Nazionale di San Luca, Rome (1972), obv. man in classical garments, knelt, writting upon a scroll, a winged bull in the background, rev. inscribed, Basil Spence, MCMLXXII, 55mm., bronze, ring suspension, with neck cravat; with associated lapel badge, gilt and enamel; French Academie dArchitecture, Grande Medaille dOr (1974), obv. stylized ornamented column by H. Navarre, inscribed in exergue, Grande Medaille dOr 1974 Sir Basil Spence Architecte, rev. seated figure in classical garments enclosed by wreath, 68mm., gold, 212g., edge stamped, 1974 and 3or, some with minor (pin?) marks to edge, in general nearly extremely fine (17) £6000-8000 O.M. London Gazette 23.11.1962 O.B.E. (Civil Division) London Gazette 1.1.1948 Basil Urwin Spence was born in Bombay on 13 Aug. 1907, the elder son of a chemist in the Indian Civil Service. When he was twelve, Spence, whose family were from Orkney, was sent home to Scotland to be educated at George Watson's College, Edinburgh. Having shown a particular ability in drawing he enrolled in 1925 at the Edinburgh College of Art to study sculpture, but then switched to architecture. Spence excelled as a student, and during 1929-30 he completed his practical assignment in London, attending evening classes at the Bartlett School of Architecture at University College, and by day working as an assistant in the London office of Sir Edwin Lutyens where he helped prepare designs for Lutyens' Viceroy House in New Delhi. Spence imbibed Lutyens' masterly combination of classical and modern architectural idioms, and thereafter always acknowledged him as his 'patron and master'. Spence completed his professional training in Edinburgh and gained his architectural diploma in September 1931, having added to his earlier prizes the Rowand Anderson Medal and the Royal Institute of British Architects (RIBA) Silver Medal; in 1933 came the prestigious RIBA Pugin Medal. He was invited to join the leading Edinburgh architects, Rowand Anderson, Balfour Paul & Partners. Within the practice he designed small houses and departmental stores in and around Edinburgh, but his private commissions gave him the opportunity to venture designs that were more modernist and daring. He became a junior partner in 1935 and undertook work for some of the practice's most wealthy and important clients, designing grand country houses that catered to individual tastes, but which at the same time were eye-catching in the way they blended traditional elements with modern and made use of the natural, textured materials of the local landscape. Notable among these structures was Quothquhan, Lanarkshire (1936) for Alexander Erskine-Hill MP, Gribloch (1937-9), near Loch Lomond, for the steel magnate John Colville, and Broughton Place (1937-9), near Peebles. In 1938 he was commissioned to design the Scottish pavilion for the Empire Exhibition in Glasgow. Spence's highly abstract construction owed much to the ideas of Le Corbusier, the influential pioneer of modern design, and was widely praised as one of the chief attractions of the exhibition. There soon followed other exhibition work in Edinburgh and Johannesburg. However, with the onset of war Spence set aside his thriving practice and joined the Royal Artillery, having enrolled with the Territorial Army 1934. He rose to the rank of Major in the camouflage unit where his talent for design was usefully employed. In Normandy, he was shocked by the destruction of ancient religious buildings and in his diary confided his ambition to build a church of his own time if he survived the war. The shortage of new work in the years immediately after the war confined Spence to small-scale architectural commissions and exhibition design, and through the latter area his practice began to pick up. He was awarded major commissions for exhibitions in Edinburgh (1946) and Glasgow (1947) to help foster post-war enterprise, and he was chief architect for the 1949 Britain Can Make It Exhibition in London, having been appointed O.B.E. in the New Year Honours the previous year. He was then commissioned to design the Sea and Ships Pavilion for the Festival of Britain which opened on the South Bank in May 1951. Spence had also been working on designs in the competition for a new cathedral at Coventry to replace that which had been gutted during the enemy bombardment of the city on the night of 14 November 1940-the 'Night of Infamy'. There had been some indecision over how the new cathedral should look. Initially, a new neo-gothic edifice was envisaged with Sir Giles Gilbert Scott as its architect, but Scott's 'ponderous' design was vetoed in 1946, and in setting up the subsequent competition for a fresh design in 1950 it was decided that entrants should be encouraged to think in terms of an adventurous modern church building that would embody the spirit of the new post-war order. In August 1951 it was announced that Spence had won first prize out of 219 entries. It was to be the turning-point of Spence's career. Coventry had a special significance, being the first British city to have had its centre destroyed by enemy bombing. The project to rebuild the cathedral caught the public imagination as symbolising the nation's rise from the ashes of war. On the eve of its consecration in 1962 Spence wrote in The Times: 'When I first visited Coventry with the competition conditions in October 1950, the old cathedral burnt open by fire-bombs seemed to say in a gentle voice, "I

A Bronze Sculpture, of an Indian on horseback, 23 cm high, and a spelter model of an eagle, 18 cm (2)

* Margaret Lovell, 'Dialogue' an abstract bronze sculpture, circa 1971, composed of two opposing forms, set upon oval base, signed to the maquette, 'M Lovell' 1971, 2/9, also foundry mark 'Morris Singer' to reverse, 20cm high overall.

A Green Patinated Bronze Sculpture of a Cactus, unsigned, on a pale green/grey marble base, 61.5cm

A BRONZE SCULPTURE of a fawn signed Knoppel, 5 1/2" high (see illustration).

Bronze Sculpture Of A Man With A Boy On His Shoulders Dated 1993

the Sculpture of Michelangelo, 1982 4to, dw; Vasari (G.) Lives of the most Eminent, Painters, Sculptors and Architects, 1850-52, 5 vols, cl; Abahanowicz (M.) Bronze Sculpture, 1996, cl; with A Quantity of Volumes on art and artists (qty.)

Pair hallmarked silver salts with blue glass liners, tongs, spoons and bronze bear sculpture

After Pierre Jules Mene, a bronze sculpture of a standing horse, raised on an oval base.

Henry Charles Fehr, bronze sculpture of a classical Roman figure, with bun and ribbons in her hair, signed, 28cms, (11").

A BRONZE SCULPTURE OF A DOG ON-POINT AND STANDING ON A MARBLE PLINTH, and signed 'Mene'. Approx 8 inches long and 3 inches wide.

Pierre Jules Mêne (1810-1879) French, a bronze sculpture of a Griffon on circular rustic base, signed. Height 7ins. (see illustration)

Zhang Feng, b. 1965 LAST SONG inscribed with the signature, dated 2000 and stamped with the foundry mark bronze height: 79cm.; 31.125in. Executed in 2000 and prodcued in various formats. Although it stands 80 centimetres tall and is cast in solid bronze there is undeniably something maquette-like about Zhang Fengs Last Song. This is not in the sense that a maquette is an unfinished sketch, a mere stage towards the ultimate execution of a sculpture. Rather it is because this key work so exquisitely demonstrates Zhangs sculptures as propositions, ideas he puts forward to encourage the viewer to partake in the very process of creation. Last Song is delicately poised between sculptures two age old traditional counterpoints. On one hand the building up and adding together, as the artist moulds a sculpture out of clay, versus the meticulous performance of subtracting when a sculpture is carefully chiselled out of a block of marble. This human figure exudes vibrancy and motion, yet stands firmly and centrally with two feet on the ground. The voluminous, block like elements of the characters head and torso are reminiscent of the Cubists endeavours to suggest an objects multiple viewpoints. Its slender arms and legs echo Giacomettis dialogue with archetypical form and pre-historic figurines. Provenance Acquired directly from the artist by the present owner

A large porcelain group: Ivan Tsarevich riding the wolf, Sergei Mikhailovich Orlov, circa 1940 Ivan depicted riding with Helen the Beautiful over mythical creatures and peasants, further decorated with delicate flowers, signed Orlov in Cyrillic, the marble oval base with bronze presentation plaque dedicated in Cyrillic: to Mr W.A. Harriman, Ambassador for United States of America, from the USSR Commissar for Foreign Affairs, V.M. Molotov, Moscow, June 1944 32.5 by 46cm., 12.75 by 18in Provenance Presented to William A. Harriman, by Vyacheslav M. Molotov in 1944 William Harriman served as the US Ambassador to the Soviet Union between 1943 and 1946. This porcelain sculpture was reputedly given to Harriman as a gift of gratitude from the USSR on the Third Anniversary of the Lend Lease Act of 1941. This was the name of the program set up by the United States to provide their WW2 allies, including Russia, with aid, munitions and supplies. As foreign minister Molotov orchestrated the non-aggression treaty between Germany and the Soviet Union in 1941 which has since been known as the Molotov-Ribbentrop Pact.

H. Postl, a bronze sculpture of a panther, signed, length 23cm, on a rectangular marble plinth.

John Erskine Milne 1931-1978- Untitled abstract form; bronze sculpture, on hardwood base, 20cm., high, (including base). Provenance: Peter Davies; acquired directly from the artist

NIGEL KONSTAM (b.1932), Salome dancing, bronze sculpture, signed with initials and dated ? 91, 7" high. (see illustration)

WREN HUGHES (20TH CENTURY) 'Encounter', sculpture in metal with wire mesh fencing together with three pottery lamps by Edith Holt, an African bronze bird and a figurative candlestick. (6)

Hubert Dalwood, 1924-1976 double cubes figures - square figure bronze with a dark green-brown patina on a wooden base Height (including base): 60cm.; 23.5in. Conceived in an edition of 6, this work is listed as Op.25 in the artist's workbook. Provenance Bear Lane Gallery, Oxford, whence purchased by the Rt. Hon. The Lord Strauss, May 1962 His Sale, Sotheby's, London, 2nd March 1988, lot 335 (as 'Square Figure'), whence purchased by the present owner Exhibited London, Gimpel Fils, Recent Sculpture by Hubert Dalwood, January 1960, no.3 (another cast). Literature Chis Stephens, The Sculpture of Hubert Dalwood, Henry Moore Foundation in association with Lund Humphries, 1999, no.86, p.117.

Reg Butler, 1913-1981 seated girl bronze height (including base): 16cm.; 6.25in. Provenance Mr and Mrs Kreitman Literature Margaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2006, cat .no.226

Reg Butler, 1913-1981 study for a girl with vest stamped with monogram and numbered 6/8 bronze Height: 26cm.; 10.25in. Executed in 1955 from an edition of 8. Literature Margaret Garlake, The Sculpture of Reg Butler, The Henry Moore Foundation in Association with Lund Humphries, 2006, cat. no.156, illustrated p.30

Henry Moore, O.M., C.H., 1898-1986 animal: horse bronze Height (including base) 23cm.; 9in. This work was an edition of 6, cast in 1965 Literature Alan Bowness (ed.), Henry Moore: Sculpture and Drawings, Vol.3, Sculpture 1955-64, Lund Humphries, London, 1965, no.448, illustrated p.27

Leon Underwood, 1890-1975 serpent in the flesh inscribed with signature, dated '25 and numbered III/VIII bronze Height (including base): 8cm.; 3.25in. Executed circa 1924. Literature Ben Whitworth, The Sculpture of Leon Underwood, 2000, figure 6 (cat. 6), illustrated p.17

Leon Underwood, 1890-1975 man up from the mollusc (evolution) bronze Height (including base): 23cm.; 9in. Cast in 1950 from cat. 145 in an edition of 7. Literature Ben Whitworth, The Sculpture of Leon Underwood, 2000, cat. no. 146, illustrated p. 135

Leon Underwood, 1890-1975 violin rhythm signed, titled, dated 1936 and numbered 1/5 on the underside of the base bronze on a carved wooden base Height (including base): 60cm.; 23.5in. The work was conceived in 1934 in an edition of three. Literature Ben Whitworth, The Sculpture of Leon Underwood, 2000, Cat. no. 89, Another cast is illustrated as Figure 95, p.113.

A 19TH CENTURY FRENCH CAST BRONZE SCULPTURE of a warrior wearing a classical helmet, loose gown and sword holding a dying man in his arms, on a rockwork base, 20" high.

Christ of Saint John of the Cross, a gilt bronze sculpture by Salvador Dali (1904-1989), inscribed 'Dali' and 'USA 169/2500', on a marble base, 25cm overall, with Certificate of Authenticity by Robert Descharnes & A. Reynols Morse

The Nude, a bronze sculpture by Benno Schotz (1891-1904), modelled as a nude female, possibly the artist's wife, seated and looking down, signed and dated 1929, 24.5cm high, 29cm wide

The Bubble Dancer, an Art Deco sculpture in gilt bronze and ivory by Armand Godard, circa 1930, modelled as a young maiden with outstretched arms holding a clear glass sphere, on a black marble base with veined quarter spheres, signed 'Godard', 36cm high

La Pause, a bronze sculpture of a seated French WWI soldier eating by Maurice Guiraud Riviere, signed and inscribed 'La Pause', foundry mark and signed for 'Susse Freres Editeurs, Paris', 16cm high

an English bronze group of Dunfermline with Willie Carson up, late 20th century, cast after Phillip Blacker, mid-dark brown patination, inscribed P.B. 8/9 (19)82, on a wooden oblong base, 33.5cm high, 56cm long overall philip Blacker started his career as one of Britain’s leading steeplechase jockeys. He turned to sculpture in the mid-1970s, under the guidance of the racehorse owner and sculptor Margot Dent, having his first exhibition in 1983. He has since become one of Britain’s leading sculptors of equestrian and sporting subjects. Of particular note are a number of outstanding full-size bronzes of famous racehorses to be found on many British racecourses.

* Fonteyn (Margot, Dame, 1919-91). A fine bronze sculpture of Margot Fonteyn in the role of Ondine, by Nathan David, FRBS, 1975, the figure with arms outstretched and standing on her points with dress stretched out behind, titled, signed and numbered 12/12 on oval base, 45 cm tall, mounted on marble plinth. Natahn David's Tribute to Dame Margot Fonteyn, the over life-size bronze figure of the dancer as Ondine, and of which this is a miniature version, was erected at the ballerina's birthplace at Reigate, Surrey, in 1980, and was the first in a series of works related to dance. (1)

* Troubridge (Una, Lady, 1887-1963). Bronze statuette of the ballerina Adeline Genee, [1907?], full-length figure of Genee in ballet tutu with arms akimbo, unsigned and undated, 20 cm tall on marble plinth. The sculpture is reproduced in Ivor Guest's eponyomous biography of Adeline Genee (1958), p. 69. See also Richard Ormrod's Una Troubridge, the Friend of Radclyffe Hall (NY, 1985), p. 29: Una also saw Adeline Genee in The Debutante and wrote to her. She kindly replied giving Una times for sketching her in preparation for a sculpture, which was duly executed and later exhibited. She wrote, on its completion [in a letter dated 3rd October 1907]: Dear Miss Taylor [Genee's maiden name], Ever so many thanks for that dear little statuette I am awfully glad to have.... Una Troubridge, translator and sculptor, later had Nijinsky sit for her, although she is best known as the long-term partner of JohnÓ Radclyffe Hall. (1)

JOHN BRAZENALL (B. 1956) TOFFEE APPLE, IN MEMORIAM I.H.F. Unique bronze cast 40cm (15.5in) high Note:This striking sculpture was created and cast by John Brazenall in the memory of friend and fellow artist Ian Hamilton Finlay. Brazenall first started working with Finlay in 1993 and subsequently cast many of his work. He created this sculpture in his memory after the artist's death in March 2006. It is a poignant reminder of Finlay's love of sweet things, but more importantly of his love of juxtapositions, the placing of everyday, ordinary objects side by side to produce the unexpected and unusual.

ERIC GILL ST MARTIN OF TOURS RELIEF patinated bronze relief panel, cast inscription 'St Martin/ Pray/ For Us' 45cm x 39cm Literature: Judith Collins, 'Eric Gill: the Sculpture', London 1998, pl. 249, pp 195-6 Note; This relief panel was originally commissioned in stone for Campion Hall Brewer Street Oxford in 1935, and executed from September - October of that year. The new building was designed by Edwin Lutyens and the plaque was unveiled on Armistice Day, 11th November 1935. A cast of the finished work was presumably taken at this time. In this relief St Martin has dismounted from his horse and is depicted in the act of tearing his cloak in half in order to share it with the naked beggar who seeks his help.

:A BRONZE SCULPTURE OF A POINTER ON POINT on a black marble plinth, approx. 15in x 10in. x 7in.

:A BRONZE SCULPTURE OF THREE WILD HORSES ON A ROCKY BASE, approx. 30in. x 20in. x 18in.

louis Charles Hippolyte Buhot french School (1815-1865) a pair of bronze cupids each holding a dove and draped in a sash, gazing downwards, on rocaille cast circular plinth base, struck with maker's stamp in capital letters, copper patination (2) 47cm high, plinths 20cm deep note: Buhot began his career at the end of the neo-Classical period of French sculpture as a student of David d'Angers at the École des Beaux-Arts, first exhibiting at the Salon in 1837 and becoming a regular participant in its exhibitions until 1865. His works in bronze are primarily figurative.

A Pair of Gilt Metal Garnitures, with applied swans, 28 cm high, and a bronze sculpture of a baby (3)

A Bronze Sculpture, of a cat, signed EA Crepin, 9 cm high

Geoffrey Dudley (1918-1986) Nebula bronze relief, mounted on board, inscribed verso together with two other reliefs each about 58 x 39cm (23 x 15 1/2in) Note: Geoffrey Dudley, designer and sculptor, was born at Wednesfield, Staffordshire, and studied at Wolverhampton School of Art. A travelling scholar and lecturer in sculpture, he was head of Department at Chelsea School of Art from 1974 to 1984

A modern bronze finished abstract sculpture of a couple embracing, signed 'Martel' and the base also embossed 'Austin Sculpture' and dated 1991, 13 ?" high

Gilbert Bayes (1872-1953), an equestrian bronze John Churchill, 1st Duke of Marlborough, 1650-1722, brown patinated and parcel gilt, inscribed GILBERT BAYES 1934, on a bronze titled plinth with battle honours verso, 89cm high overall. Provenance: The Gilbert Bayes Charitable Trust. Exhibited: Royal Academy and Liverpool 1935, Glasgow 1936, Institute 1939 (150gns), Royal Academy Winter 1940, Russia 1942 (150gns)Literature: Modern Sculpture RBS, 1939, p. 2, illustrated; The Studio, Vol. 32, July 1946, p. 83, illustrated and Irvine, Louise and Atterbury, Paul. Gilbert Bayes: Sculptor 1872-1953. Shepton Beauchamp 1998, p. 163

Gilbert Bayes (1872-1953), a white marble sculpture of a water baby, carved as a naked boy seated on a rock with a garland of flowers, 55cm high. Provenance: The Gilbert Bayes Charitable Trust. See Louise and Atterbury, Paul. Gilbert Bayes: Sculptor 1872-1953. Shepton Beauchamp 1998, p. 146 and 148 for similar examples in Doulton stoneware and bronze entitled 'The Water Baby'

A Symbolist bronze figure representing an allegory, rich green patination, unsigned, on an orange and cream marble cylinder and block base, 41.5cm high overall. See Sothebys, London, 19th and 20th century Sculpture, 15th March 1991, lot 309 for a bronze door knocker 'Allegory of Sculpture' attributed to Harry Bates (1850-1899). See also the collection of the Cecil Higgins Art Gallery, Bedford for another example of the door knocker: there fully attributed to Harry Bates ARA as it has been identified from a photograph by the artist's son and was possibly exhibited at the Fine Art Society in 1902. Our present lot displays similar attributes to the above and to New Sculpture in general

Ferdinand Preiss (1882-1943), a cold painted bronze and ivory figure 'Gamin', of a standing young woman wearing greeny silver skirt, blouse and jacket with her hands in her pockets, her hair and face tinted, on a green onyx rectangular base, base engraved with a signature, 33cm high. See Catley, Brian. Art Deco and other Figures. Woodbridge 1978, p.260 for a colour illustration and Christie's South Kensington sale 20th Century Bronzes and Sculpture, 1st December 1993, lot 212 for a smaller example

Jean-LEon GErome French, 1824-1904 la Joueuse de Boules (the ball player) signed: J L GERoME, stamped SIOT-PARIS and numbered 216H gilt bronze 27.4cm., 10.75in. Gerome is believed to have been inspired by the antique sculpture of A Satyr Examining his Tail in the Vatican museum in Rome. The contraposto of her pose makes for an interesting contrast to her vertical glance downwards to the mask at her feet. RELATED LITERATURE Ackerman p.326, S.57

ACHILLE D'ORSI: A CAST BRONZE SCULPTURE OF A BOY crouching on a rock mending a basket, on a marble plinth, 16" high.

J. WILLIS GOOD: A BRONZE SCULPTURE OF A RACE HORSE with jockey up, signed and dated 1875 to the base, on a stepped rectangular plinth, the base stamped Elkington & Co., 13" wide

Antoni Clave, 1913 -2005 UNTITLED inscribed with the signature and numbered 1/6 on the underside bronze sculpture height: 20.5cm.; 8in. Provenance Galerie Yoshii, Tokyo