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AN 18TH/19TH CENTURY CAST BRONZE FIGURAL SCULPTURE OF ATHENA69cm high

A LARGE 19TH CENTURY BRONZE FIGURAL SCULPTURE modelled as a boy and crab with verdi patination.90cm high A good original bronze which has been displayed outside and has a verdigris patina, there is no damage or repairs to the body.

AFTER CLODION . A 19TH CENTURY MYTHICAL PATINATED BRONZE FIGURAL SCULPTURE modelled as a Satyr and Diana; mounted on a bead edge circular Sienna marble base - signed.27cm high

PAUL LOUIS EMILE LOISEAU-ROUSSEAU (1861-1927). A STYLISH GILT BRONZE ART NOUVEAU FIGURAL SCULPTURE depicting a nude female lying on a conch shell - signed 25cm wide 19cm high

ALPHONSE SALADIN (1878 - 1956) A FRENCH ART DECO PATINATED BRONZE FIGURAL SCULPTURE modelled as a nude female, mounted on a circular antico verde socle base.40cm highIn good undamaged unrestored condition with no cracks to the marble base. Some tiny nibbles on the edges. No repairs or signs of restoration to the bronze.

FRANZ PELESCHKA-LUNARD (AUSTRIAN, b1873) AN ART DECO FIGURAL BRONZE SCULPTURE modelled as Cleopatra depicted half draped holding a bowl, mounted on a square rouge marble and black slate base - signed.33cm high

AFTER CLAUDE MICHEL CLODION. A 19TH CENTURY PATINATED BRONZE FIGURAL SCULPTURE 'The Family of Faun' mounted on a rouge marble base, signed.43cm high

A bronzed metal figural sculpture. 13" high.

A COMPLETE SET OF FOUR FAMILLE ROSE 'EIGHT IMMORTALS' PLAQUES, BY WANG QI (1884-1937)China, Republic period, circa 1930. Exquisitely painted in bright enamels, each plaque depicting two of the Eight Immortals wearing fine robes and holding their attributes, with two seals of the artist. (4)Expert's note: The quality of this set is remarkable. The artwork is exquisitely detailed in vivid and confident brushstrokes, very much unlike the countless copies in circulation today. The enamels are exceptionally well fired, with crisp and elegant colors, blended to an overall near-perfect harmony, as found only in a small number of works from the Wang Qi studio. Equally noteworthy is the quality of the hardwood frames, including their fittings and backings, all exhibiting clear signs of age, original to the set and executed to the highest standards, a level of craftsmanship absent in later pieces.Inscriptions: Each plaque with two seals: the first, lower right, 'Wang Qi' and 'Liandan jishi'; the second, lower right, one reading 'Wang Qi'; the third, lower left, 'Xiaoyao' and 'Wang Qi huayin'; and the fourth, lower right, one reading 'Wang Qi'.Provenance: North American trade. By repute acquired from a local estate.Condition: Excellent condition with some old wear and firing irregularities. Little rubbing and flaking to enamels. One plaque with a phosphorescent firing flaw in the upper left corner. The frames with expected traces of use, minor splits and a natural patina.Dimensions: Panel size ca. 55 x 17 cm (each), Size incl. frame ca. 59 x 21 cm (each) The first plaque depicts Li Tieguai leaning on his iron crutch, carrying two gourds on his back, one releasing fumes, standing next to He Xiangu holding a long leafy blossoming lotus stem, under the full moon.The second plaque with Zhongli Quan holding his fan and Lu Dongbin with his sword sheathed to his back, below a flying crane.The third plaque shows Han Xiangsi, with his flute suspending a jade pendant, conversing with Cao Guojiu looking up towards his castanets in the air above.The fourth plaque with the elderly Zhang Guo holding his bamboo rod and standing beside Lan Caihe carrying his basket filled with flowers and lingzhi, below an iron-red bat.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years, Wang increasingly developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.His earlier works were characterized by the gongbi style, which employed fine outlines for human figures. However, his style evolved over time, transitioning into a more free style. Wang Qi's artistic journey led him to Jingdezhen in 1901, where he learned porcelain painting and portrait painting from Deng Bishan and Qian Hui An. His talent was recognized when he received the "Supernatural Technique" plate as a gift from the Fuliang County Magistrate in 1916, which significantly boosted his reputation. In 1916, Wang Qi traveled to Shanghai with Wang Dafan to attend the Shanghai Paintings Exhibition, where he encountered the Eight Strange Masters of Yangzhou. Among them, he was particularly impressed by the painting style of Huang Shen, who excelled in painting people, landscapes, and flowers and birds. Wang Qi's background in portrait painting, sculpture, and painting portraits on porcelain, combined with his exposure to Western painting techniques, elevated his porcelain paintings to a new level of artistic accomplishment.Literature comparison: A set of plaques, also painted with the Eight Immortals but in a different arrangement of pairs, is preserved in the China Ceramic Museum, Jingdezhen, albeit unpublished. The Muwentang Collection has a group of famille-rose plaques of different figural subjects painted in a related style by Wang Qi, attributed to the period between 1912-1925, published in Simon Kwan, Minguo ciqi (Chinese Porcelain of the Republic Period), Hong Kong, 2008, pls. 12-19. 王琦款一組四件粉彩八仙掛屏中國，民國，約1930年。木框為套裝原創。(4) 款識：王琦，煉丹濟世；王琦；逍遙，王琦畫印；王琦。 來源：北美古玩交易，據説購於當地舊藏。 品相：狀況良好，有磨損，琺琅輕微摩擦和剝落。一塊掛屏左上角有燒製缺陷。框架有使用痕跡、輕微裂痕和自然包漿。 尺寸：掛屏分別為55 x 17 厘米，總約59 x 21 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

Garden statuary and sculpture - a large carved wood figural sculpture, 156cm high.

A VICTORIAN WHITE MARBLE GROUP OF 'VIOLET AND HENRY'BY ALEXANDER MUNRO (SCOTTISH 1825-1871)mounted on a verde antico marble plinth64cm high, 83cm wide Catalogue NoteAlexander Munro (1825-1871) Alexander Munro was a Scottish sculptor who pioneered the move away from the academic style of the early 19th century towards the greater naturalism of the Pre-Raphaelite movement. Munro met Dante Gabriel Rossetti, John Everett Millais and Arthur Hughes at the Royal Academy Schools, which he joined following an invitation by the architect Charles Barry to work on the sculptural decoration of the new Parliament building. Though not formally part of the Pre-Raphaelite Brotherhood, Munro was closely associated with its members and shared a studio with Hughes for six years. Munro also met John Ruskin while teaching at the Working Men's College in Great Ormond Street alongside his fellow sculptor Thomas Woolner from 1855. The ideal of truth to nature set out by Ruskin is present in Munro’s work, as well as the Pre-Raphaelite interest in the Medieval world, encapsulated in his masterpiece Paolo and Francesca, first executed as plaster maquette for the 1851 Great Exhibition’s Sculpture Court and later in marble (Birmingham Museums and Art Gallery, accession number 1960P29). Munro was also an accomplished portraitist, exemplified by the group of six portraits of scientists he was commissioned for the Oxford University Museum by Professor Henry Acland, including a bust of the professor himself (Ashmolean Museum, accession number WA.OA1769). All these innovative features are encapsulated in the work offered here, Violet and Henry, exhibited at the Royal Academy in 1865. Described in full ‘Violet and Henry', and published in The Illustrated London News on 17 June 1865, it displays Munro’s technical virtuosity and the tender pathos that characterises much of his work, as well as his skill in imbuing liveliness in his portraiture. This work is closely related to the marble figural group titled ‘The Sisters’ which was exhibited at the Royal Academy in 1857 and sold by Sotheby’s, London, 19th & 20th Century Sculpture, 12 December 2018.

Caleb Samhere, Zimbabwe - carved stone figural bust sculpture of an African tribal gentleman, possibly of the Shona tribe, signed, 12.5" high

Elliott Katombera, Zimbabwe - carved stone figural bust sculpture of an African tribal gentleman wearing a head dress, signed E Katombera, 11.5"

Elliott Katombera, Zimbabwe - carved stone figural bust sculpture of an African tribal gentleman, possibly of the Shona tribe, signed, 12.75" high

A COLLECTION OF STONE ITEMS, to include three carved Canadian birds, a jug and goblet, two vases tallest 27cm, a heavy globe, polished geodes, a green stone hippopotamus, a figural sculpture with scratched signature 'Elton', etc, please note most of these items are very heavy (18) (Condition Report: condition varies, some chips and losses, but generally ok)

A giltmetal figural lamp in the form of a child on a tree stump, 20th c, after the sculpture by F Moreau, on onyx base, 36cm h Minor wear and scratches but undamaged

A large engraved, “Max Greger & Co London Wine Flagon”, a small amber glass bottle 1891 and a figural wax sculpture under dome, tallest flagon 26cm high

A decorative modern resin figural sculpture, height 90cm.

Box of ethnic carvings, including Inuit carved groups, Indian pull-along carved wooden toy elephant, soapstone abstract figural sculpture, a carved wooden box, etc.

A COLLECTION OF STONE ITEMS, to include three carved Canadian birds, a jug and goblet, two vases tallest 27cm, a heavy globe, polished geodes, a green stone hippopotamus, a figural sculpture with scratched signature 'Elton', etc, please note most of these items are very heavy (18) (Condition Report: condition varies, some chips and losses, but generally ok)

A large and impressive contemporary bronze worked sculpture garden feature / figural statue in the form of a mermaid raised on a naturalistic stone base. Signed by the artist to the base. Measures approx. 295cm x 130cm diameter.  Please note that collection is from a Bristol postcode that will be disclosed once purchased.

Marina - A large and impressive contemporary bronze worked sculpture garden feature / figural statue in the form of a mermaid at full stretch holding a shell with detailed features throughout. Raised on a naturalistic stone base. Signed by the artist Marina. Measures approx. 240cm x 120cm diameter.  Please note that collection is from a Bristol postcode that will be disclosed once purchased.    

Figural sculpture depicting two nude children whispering and giggling fixed to rectangular base. Finished with a light terracotta color. Issued: 1990Dimensions: 4.25"L x 6.25"W x 13"HManufacturer: ALVA Museum Replicas INCCountry of Origin: United StatesCondition: Age related wear. Chip to base and minor chips to finish.

A mixed lot to include an Electra Bakelite telephone, figural sculpture initialled KH, Coco de Mer style ornament and other items Location:

A vintage late 20th century marble hand carved figural sculpture / statue. The sculpture depicting an ammonite shaped top decorated with stones insets, held within a wave shaped stand. Measures approx. 57cm x 24cm. 

An abstract pottery sculpture, 2 painted turned wood figural display stands, an African bust, studio panel, mask etc (7)

A plated abstract figural sculpture on stand, signed Geris, 45/500,59cm

A GOOD 19TH CENTURY CARVED ALABASTER FIGURAL SCULPTURE OF THE THREE GRACES finely executed and mounted on an oval base33cm high

A 19TH CENTURY ORMOLU AND MALACHITE FIGURAL SCULPTURE depicting a robed male figure standing and holding a skull; on stepped pedestal base.14.5cm high

A JAPANESE MEIJI PERIOD BRONZE AND GILT FIGURAL SCULPTURE SIGNED MIYAO depicting an elder mounted on a brass inlaid hardwood stand - signed30cm high In very good undamaged and unrestored condition.

A LATE 18TH CENTURY FRENCH ORMOLU AND MARBLE FIGURAL MANTEL CLOCK the white and rouge marble case surmounted by a gilt bronze sculpture of a young girl bathing her feet, the 4.5" enamel dial fronting an eight-day spring driven movement with silk suspension and outside countwheel strike44cm highThe clock has a missing bezel, missing bell and pendulum. The case is in good condition having small chips to the corners. There is a small chip to the top of the enamel dial. The movement is clean and complete and would function if it had a pendulum and bell.

AFTER MATHURIN MOREAU: A BRONZE FIGURAL SCULPTURE OF A WOMAN AND HER CHILDREN19th CenturySigned to the integrated naturalistic base, on a black marble base, 72cm high

AFTER CARRIER-BELLEUSE (FRENCH 1824-1887): A CAST METAL FIGURAL SCULPTURE OF VENUS AND DOVES; TOGETHER WITH ANOTHER SCULPTURE (2)19th CenturyThe figure of Venus seated on a tree stump, signed ‘Carrier Belleuse’, on an naturalistic base and small wooden plinth, 58cm high; Together with a cast metal sculpture of a winged cupid holding up a mirror, 81cm high

A GROUP OF FEMALE FIGURES, comprising a 1989 Alexander Danel Austin production 'Cameo' woman sculpture, height 40cm, a figural electric indoor water feature of a swan and woman, two art deco style resin figurines, a hand carved soapstone figure of a couple dancing, a damaged and reglued figure of a Roman woman, an a Giuseppe Armani -Florence 'Aurora' figure (7) (Condition report: electric water feature not tested, dusty, nibbles to edges of some figures)

Bertil Vallien (Swedish, b. 1938) – ‘The Messenger’, Bertil Vallien for Kosta Boda Block Cube glass sculpture in cube form with one end cut off to stand, foil reverse that can be viewed when standing with figural design and the word “See”. 7090352. With Kosta Boda sticker. Boxed in Kosta Boda box. Height standing 15cm.

After François Girardon (French 1628-1715): The Abduction of Proserpine by Pluto, brown patinated bronze, 102cms high overall, base 36 x 38cms.NB François Girardon was a sculptor widely regarded for his statuary in the gardens of Versailles. Girardon lived and apprenticed in Rome for a period, and although the artist preferred classicism and ancient Roman sculpture, he often worked in the Baroque style.Louis XIV commissioned Girardon to create one of four monumental marble groups intended to decorate the corners of Charles Le Brun's never-completed garden at Versailles, the Parterre d'Eau. Each group of three figures symbolized one of the four elements: earth, air, water, and fire. Pluto's association with Hell made him an apt symbol of fire.Girardon's marble was reproduced as a small bronze from the late seventeenth century onwards.This figural group exemplifies the movement, vibrancy, and energy highly regarded at the time. Girardon's design is perfected by not only the twist of the composition, but also the classical clarity of the figures.The Wallace Collection in London, the Louvre, Windsor Castle and the Getty Museum in Malibu own identical pieces in varying sizes but this example is amongst the largest examples.

A pair of contemporary modernist Bodrul Khalique bronze figural sculpture ornament figurines statues depicting an elongated abstract male & female ballerina dancer figures raised on a square plinth base. Measures 33cm (height). Along with an additional hand made female ballerina dance figurine. Measures 28cm (height). 

CHINESE ROOTWOOD FIGURAL TABLE LAMP carved in the form of a man with walking cane, brass mounted chest and a plaster sculpture

An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria.  He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon.  Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com

A So Chic model of seated men with head bowed and arms outstretched, a carved wooden sculpture of a crouching male, a metal figural pot and a modern ceramic vase with incised textured decoration.Location:

A set of three contemporary African brass figures raised on hardstone bases, together with a contemporary hardwood figural, a carved African bust and a carved African sculpture. H.77 W.14 D.9cm largest

A BRONZED RESIN DOG SCULPTURE 27cm long, a figural tiger candlestick, and a Nachtmann glass dog (3)

Studio Pottery figural sculpture of a sleeping woman, late 20th century, in a red lustre glaze, indistinct seal mark, 21cm wide, 11.5cm high.Condition report:There are no obvious chips, cracks, damage or repair. There are numerous 'burst bubbles' in the glaze. The sculpture is quite dusty in the middle. Please see additional uploaded images, including the indistinct seal mark.

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)MADAME SOULLIER Bronze Signed, titled, inscribed and dated Aug 1969 (to base)57 x 21 x 16.5cm (22¼ x 8¼ x 6 1/5in.)Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets. 

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)MISCHIEF, PORTRAIT OF A BOY Bronze Height 20cm (7¾in.)Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. Condition Report: Light surface dirt throughout. White blemish to front of base of neck. Some scratches and knocks scattered across the surface with a larger area of imperfection to the base of back of neck. Likely caused at the casting stage. Overall in original condition. Condition Report Disclaimer

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTION , 1971Carrara marble Signed 45cm (17½in.) Height inc. base Provenance:Direct from the artist's family Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.Condition Report: Light surface dirt throughout. Glue residue visible to lower edges where the sculpture attaches to the platform. Some evidence of light staining and marks scattered across the surface. Please see additional images by contacting pictures@dreweatts.com Condition Report Disclaimer

AFTER BENVENUTO CELLINI (FLORENCE, 1500-1571) A BRONZE FIGURE OF PERSEUS AND MEDUSA ON PLINTH SECOND HALF 19TH CENTURY, ITALIAN The hero portrayed standing contrapposto, heroically nude except for winged sandals and a sash to his chest inscribed BENVENUTUS CELLINI FECIT, standing triumphantly above the slain figure of Medusa, and raising her decapitated head with his left hand, on rectangular figural plinth 98cm high overall, the base 14cm x 14.5cm Provenance: The collection of Sir William Whitfield CBE, 10 March 2020, Lot 38 Commissioned by Duke Cosimo I de' Medici and unveiled in 1554, Cellini's vivid contribution to the Loggia dei Lanzi on Florence's Piazza della Signoria is a tour de force of mid-16th century mannerism. The bronze showcases the many new ways in which mannerist sculptors were pushing the boundaries of the body. The decapitated figure of Medusa for instance is folded up in an unlikely pose, and is an example of what critics would come to refer to as a 'figura sforzata' or 'forced figure'. This iconic sculpture was much admired by Grand Tourists, and many 19th century souvenir casts of the work survive. Prince Albert for example acquired a full-size copy of the bronze by Clemente Capi at the Great Exhibition in 1855, which is now in the Royal Collection. The incorporation of Cellini's figural plinth in slightly smaller models, such as this one, is quite rareCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some paler patination from this to raised and exposed extremities such as knees- shoulders, plinth edges- reverse of wing to ankle etc The whole in generally good condition but with some loose component elements. Base and top are separate pieces. He lacks sword bladePlease see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

TWO FIGURAL TABLE LAMPS AND A BIRD SCULPTURE, comprising a Border Fine Arts 'A Moment to Reflect' table lamp, depicting a shepherd with two sheepdogs, height to top of fitting 34cm, a Capodimonte lamp modelled with two cranes, the wooden base labelled 'R Pennati', both with shades, together with a Country Artists 'Water's Edge' CA485 sculpture of a pair of kingfishers (3) (Condition Report: generally ok, lamps untested, shades a little dirty, Country Artists sculpture has sd to base, yellowed and flaking 'water', and some paint loss to leaves, dusty)

A small Edwardian brass paraffin lamp with green glass reservoir and florally etched shade together with a bronze patinated spelter ' Marley' horse, a Minors lamp and an unsigned modernist figural bronze sculpture, 18cm

ASSORTED DECORATIVE ITEMS, including Staffordshire blue and white bordaloue, pair Japanese cloisonné vases, a German/Austrian terracotta figural tobacco jar and cover, bronze sculpture of a racehorse, Art Deco style hand mirror, Scottish pewter quaick, boxed set 1970 coinage of GB and NI, resin Pony Club plaque

STATUETTE DE JNANATAPA EN ALLIAGE DE CUIVRE DORÉ AVEC INCRUSTATION D'ARGENTTIBET, XIVE SIÈCLEHimalayan Art Resources item no. 4802 15.5 cm (6 1/8 in.) highFootnotes:A SILVER INLAID GILT COPPER ALLOY FIGURE OF JNANATAPATIBET, 14TH CENTURY西藏 十四世紀 銅錯銀鎏金迦那塔帕像Provenance:With Claude de Marteau, Brussels, by 1970sJnanatapa ('Heat of Wisdom'), one of the great mahasiddhas (accomplished masters), is depicted here as the only known sculptural example of this subject. The lion-topped incised jewel box held in his left hand identifies his personage, though little of his mystical hagiography is recorded, unlike other depictions of the siddhas. Nevertheless, the folded legs of his yogic posture, rotund belly, intensely wide-eyed gaze, and long hair tightly pulled into a top-knot echo his Indian paragons of spiritually accomplished and eccentric trickster-saints. There are only a handful of depictions of this subject. The most poignant example is a 14th century Taklung painting identifying the central figure by inscription as Jnanatapa, now in the Metropolitan Museum of Art, New York (1987.144). Onpo Kama Rinpoche (1251-96), a lama from the Taklung Kagyu tradition and the first abbot of the Riwoche monastery in Eastern Tibet, was recognized as the emanation of this mahasiddha, linking the founder of this lineage to a pure and authenticated Indian source. Spiritual legitimacy within Tibetan orders was predicated on an unbroken chain of Buddhist teachings linking these tantric Indian masters as emanations of divine Buddhas. Given the time frame of this bronze and the connection of this saint to the Taklung tradition, it is possible that this sculpture was also directly connected to Riwoche monastery.The liveliness of the figure finds its aesthetic origins from the craftsmanship of Newari artists. The rounded figural form of the body and decorative beaded garlands, jewelry, and Pala-inspired flaming pendants, resemble coinciding Newari sculptures, including an image of the mahasiddha Virupa, sold at Bonhams, New York, 7 October 2019, lot 802. Newari artisans, whose metalworking traditions were widely-known and highly valued, saw a continuation of active sponsorship by Tibetans well into the 14th century.The chased details under the beaded girdle and the densely packed lotus leaves along the front of the base suggest the artistic exchanges held between Tibet and the courts of the Yuan dynasty (1279-1368). The decorative cadence of the floral and Buddhist emblems along the lower garment resemble the fluidity and scrollwork seen on Yuan textiles (see an example in the Metropolitan Museum of Art, New York, 1988.296). Similar designs are also reproduced on several sculptures attributed to the Yuan dynasty (Bigler, Before Yongle, 2013, pp. 84-95, nos. 19-21). Lastly, compare the plump, scroll-tipped petals of a bronze from the Claude de Marteau Collection, Part 2, sold at Bonhams, Paris, 4 October 2022, lot 9.For further information on this lot please visit Bonhams.com

Figurale Skulptur, patinierte Bronze, um 1900, Kämpfer mit Dolch und Schild, H 29,5 cm. Figural sculpture, patinated bronze, around 1900, fighter with dagger and shield, h 29.5 cm

Ngoni Mrewa (Zimbabwe school) - a large soapstone abstract figural sculpture, signed to the base, 70cms high.Condition ReportSome surface scratches to the back of one head and some minor surface scratches in other places, otherwise very good overall condition.

Group of artwork x 6 - Large coloured signed european etching largest (65cm x 51cm overall), abstract figural watercolour / drawing, Artwork sculpture and prints (6)

* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE LATE 20TH CENTURY titled INSOLITE, signed MORNAR, numbered 3/8, dated 1998 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 25kg

* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE EARLY 21ST CENTURY titled JUEX COQUINS, signed MORNAR, numbered 1/8, dated 2001 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 7.2kg

BACTRIAN STONE FEMALE "PRINCESS" IDOL BACTRIA-MARGIANA, C. LATE 3RD - EARLY 2ND MILLENNIUM B.C. carved chlorite and limestone, the figure formed of two parts, shown seated, the voluminous dress enveloped with layered kaunakes, the arms and hands hidden within the folds, the entire garment is covered with hatching, tufts can be seen at the shoulders, the head formed of carved limestone, the figure wears a serene expression with a subtle smileDimensions:10cm tallProvenance:Private collection, Mr. D.S., United Kingdom, originally acquired between 1985 - 1990Private collection, London, United Kingdom, acquired from the above 2014Note: Note:Amongst the most striking examples of figural sculpture surviving from the Oxus (Bactrian-Margiana) Civilisation of ancient Central Asia, these enigmatic figures known as “Princess Idols” were clearly of significance, yet their exact purpose remains unclear. Seals found further to the southwest engraved with similar likenesses confirm the clear relationship between these Bactrian statuettes and Elamite art. One such seal even depicts a queen wearing the same characteristic kaunakes garment. The elaborate dress and grandeur of the Bactrian statues have long led scholars to believe they may depict women from the aristocracy. However, there is no conclusive evidence to support this theory. Another possibility is that these figures represent goddesses who maintained the balance of natural forces. Despite the enigmatic nature of their meaning, these statues are considered among the most aesthetically pleasing remains of the Oxus civilisation. Muscarella (2003:368) writes, "attempts have been made to interpret these figures as deities or prominent humans, but insufficient information exists to permit a satisfactory conclusion. There is no doubt, however, that they are charged beings, physically massive but projecting a calm power and authority."

Ken Ross - A Contemporary bronze worked sculpture garden feature / figural statue group depicting children playing on a log. The four children with detailed features balancing up the log with a small dog perched to one end. Signed by the artist Ken Ross. Measures approx. 100cm x 124cm x 47cm.  Please note that collection is from a Bristol postcode that will be disclosed once purchased.   

Ken Ross - A large contemporary bronze worked sculpture garden feature / figural statue group depicting a mother and her children seated upon a bench. The central mother holding a new-born upon her lap flanked by a boy and girl. Signed by the artist Ken Ross. Measures approx. 98cm x 112cm x 45cm. Please note that collection is from a Bristol postcode that will be disclosed once purchased.    

A contemporary hollow bronze worked sculpture garden feature / figural statue in the form of a seated young girl reading a book with detailed features throughout. Measures approx. 95cm x 130cm diameter.  Please note that collection is from a Bristol postcode that will be disclosed once purchased.