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A early 20th century African Benin bronze figural sculpture of centaur. The figure holding a shield & axe. Decorated with hand moulded beading & shapes. Measures approx. 28cm x 20cm x 13cm. 

Highly detailed sculpture / figural lamp base possibly modeled as Juno Lucina, the goddess of light.Fixed to hollow metal base painted black. Finial knob unscrews to reveal tube for socket wire, which exits at rear of base. Moreau Mathu inscribed to base. This item has no reserve. Issued: 20th c.Dimensions: 11"L x 9.75"W x 14.25"HCondition: Age related wear. Socket and cord not included.

Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Ambivalence III," depicting a woman in a contorted pose balancing on one leg, 1960. Signed, dated, and numbered illegibly along the base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 82, plate 144.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 212, plate 144.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 14 in x width: 18 in x depth: 11 1/2 in.Condition: No noticeable cracks, dents, or losses. Due to the original design of the artwork, some areas are difficult to discern whether it is damaged or original. However, given that No visible sign of restoration under UV light. Along the recessed areas, there are a few scattered areas with white unidentified residue collected; however, it does not appear to be a glue. Wear along the underside.

Paul T. Granlund (American, 1925-2003). Large bronze sculpture titled "Day & Night" depicting a mobius strip with the figures of two men impressed within, 2003. Signed P.T. Granlund, dated, and numbered 1/2 along the base.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 88 x width: 49 in x depth: 20 in.Condition: Overall the statue is in good condition with no dents, losses, or restorations. There are a few areas of slight discoloration and evidence of exposure to the elements throughout. The base is discolored and patinated. Some dirt and dust collected throughout.

Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Figure with Mirror", depicting a figure of a woman with her mirror image next to her, 1984. Signed, titled, and numbered 3/10 along the base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg 117, plate 513.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 29 1/4 in x width: 18 1/4 in x depth: 7 3/4 in.Condition: No visible dents, cracks, or losses. No visible sign of restoration under UV light. Wear throughout. Light oxidation throughout, most noticeably along the upper back of the mirror image. Throughout the sculpture, there is uneven coloration visible; however, it appears to be the original design intended by the artist. Wear along the underside.

Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Toe To Toe" depicting two figures interlocked, 1988. Signed along the base P.T. Granlund, dated, and numbered 12/25.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 822, plate 555.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 8 in x depth: 8 3/4 in.Condition: The sculpture is in good condition with no dents, losses, bend, breaks, or restorations. Some light wear, especially along the base, consistent with age and use.

POTTERY FIGURE OF A BOY HOLDING RABBIT SONG DYNASTY 宋 紅陶童子抱兔俑 naturalistically moulded in a seated posture on a hexagonal base, the boy holding a rabbit between his legs and right arm, and a lobbed ball in his left hand, wearing a cape with pointed drapery on his chest, his smiling eyes, mouth and dimples naturalistically incised in a playful manner, the pottery of reddish terracotta colourDimensions:12.5cm highProvenance:Provenance: Private Taiwanese collectionNote: Note: This is a rare example of secular figural sculpture from the Song dynasty, made at a moment when Song sculpture reached the pinnacle of naturalism. Song historical texts and archaeological discoveries indicate that this type of pottery doll (ni hai er), elaborately dressed with real clothes and jewellery, was made for the Qixi Festival (the seventh day of the seventh lunar month) and kept in people’s homes to express the wish for many male children. A larger seated pottery boy, dated to the Song dynasty 12th century, is in the collection of the Metropolitan Museum of Art, accession number: SL.27.2018.1.1. Some more comparable examples, either holding a fish or ball, are in the collection of the Shaanxi History Museum.

After Frederic Leighton - 'An Athlete Wrestling a Python', Royal Academy Arts 'Austin Sculpture' cold cast bronze resin figure, 15" high; with a Classical wooden plinth applied with a bronze figural band, 8" diameter, 7.5" high (2)

CLASSICAL STYLE POTTERY SCULPTURE OF A FIGURAL PHALLUS ALONG WITH SEVEN CARVINGS the phallus modelled over a human torso and two legs, the other carvings including Chinese and Egyptian examplesthe phallus 15.5cm high Qty: 8

FIGURAL TABLE LAMP modelled as a camel, with blue shade 45cm highThere is no damage of any note. The parts on the sculpture that show the base metal are, it appears, intended, n rather than being worn, images added show this. Minor scuffing and scratching to the base. Overall in very good order.

Clear and frosted glass figural paperweight / glass sculpture. Dimensions: 6"L x 2"W x 5.5"HCondition: Age related wear.

A bronze abstract figural sculpture, signed Le Bao, 41cm

A 1986 Roland Chadwick bronzed figural group sculpture 'Lovers' signed and dated to base. 23cm tall.

A Murano glass figural sculpture, shipping unavailable

Etling, an Art Deco glass figural sculpture, 1930's, frosted glass moulded in shallow relief with a stylised female bather, mounted on a rectangular copper finish lamp base. The figure marked 'Etling, France 68'. 15cm long, 12cm high approx. (B.P. 21% + VAT)  The glass figure appears good, no obvious damage, chips or cracks.  The base with bulb has no plug and will require re-wiring.

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)TRANSCENDENTAL FLIGHT, 1963 Wood on marble base 83cm (32½in.) Height inc. base Provenance:Direct from the artist's familyRobert 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.

JOHN EXCELL WOOD SCULPTURES, abstract and semi-abstract figural forms, and a head sculpture of St. Peter, tallest 52cm h

A Large and Impressive Heavy Pair of Heavy Cast Gilt Metal Figural Lions, Supported on Gilt Metal Plinths of Excellent Form. Heights 10 Inches - 25 cms. Widths 8.5 Inches - 21.25 cms & Depth 3.5 Inches - 8.75 cms. Each Sculpture In Good Overall Condition.

Sylvester Mubayi (1942-2022) Zimbabwean 'Daydreamer', figural carved and polished shona sculpture, signed, 52 cm high, on white pedestal plinth 73 cm high*All proceeds from sale will be going to Chengelo Education Trust*Location: FOYER

Bernard Sakarombe (XX-) Zimbabwean, 'Proud Parents', carved springstone figural sculpture, 61 cm high*All proceeds from sale will be going to Chengelo Education Trust*

Bedeutende und in höchster Qualität gefertigte Empire-Kaminuhr mitfigürlicher Gestaltung von Claude Galle (1759 - 1815)56 x 48,5 x 17,2 cm.Paris, um 1810.Funktionen:Das Werk mit runden Messingplatinen, durch vier Pfeiler verbunden. Ankerwerk mit Pendel an Fadenaufhängung. Vierzehntagegehwerk. Geschwärzte Breguet-Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk für Halbstunden- und Stundenschlag auf versilberte Glocke.Gehäuse:Bronze, vergoldet und braun patiniert, grüner Marmor. Der Aufbau betont vorrangig die skulpturale, bildkünstlerisch hervorragende Leistung als klassizistische Plastik, als das in der Gesamterscheinung untergeordnete Uhrwerk. Die Betonung der beiden Farbwirkungen Braun und Gold verleiht gediegene Eleganz. Der grünfarbene getreppte Sockel in Vert de Mer-Marmor erscheint dabei zurückhaltend, durch die vergoldeten Rundfüße jedoch mit dem Figurenwerk verklammert. Gezeigt ist eine schwarz patinierte Récamière, reich mit vergoldeten Applikationen besetzt, auf der eine bacchantische Mänade auf einem Kissen liegt. Der Körper nur mit einem um die Hüften gelegten Tuch bekleidet. Die Körperhaltung zeigt sie räkelnd, mit hochgenommenen Armen, wobei sie eine große Traube mit Blättern über dem Gesicht hält. Ihr Blick ist verschleiert, nahezu weintrunken wiedergegeben. Zu ihren Füßen ein Tamburin mit Tyrsosstab zwischen zwei Weinkannen am Fußende des Bettes. Dem antiken Thema entsprechend beziehen sich auch die Applikationen an der Vorderseite der Liege auf das Bacchusthema: zwei Panther, die sich an Trauben in einem Korb laben. Es sind die Attributtiere des Weingottes Bacchus, wurde er doch der Legende gemäß von einer Pantherin aufgezogen. Seitlich Panflöten, darunter erscheinen die Masken des gehörnten Pan an den Bocksfüßen der Kline. Ein hochsteigender Bock sowie ein Widderkopf-Rhyton an der Lehne ergänzen das Bildprogramm. Das Uhrwerk im Zentrum unterhalb der Récamière eingefügt. Zifferblatt:Das weiße Emailzifferblatt zeigt römische Stunden und arabische Viertelstunden, über der VI bezeichnet „Le Roy“.Das Thema der figürlichen Darstellung lässt sich auf reiche antike Sagenstoffe zurückführen, die von dem römischen Dichter Ovid überliefert wurden. Dabei spielt die vorgeschichtliche Erfindung der Weinherstellung eine übergeordnete Rolle, etwa die Legenden von Bacchus und Erigone, der Tochter des Ikarios. Hier wird erzählt, Bacchus hätte die Herstellung des Weines verraten, ohne die Folgen der Betrunkenheit zu erwähnen, woraufhin Ikarios getötet wurde. Aber auch ohne diese Vorgeschichte fand das Motiv der trunkenen Mänade im Gefolge des Bacchus vielfach Anregung zu künstlerischer Gestaltung. Und dies auch in der Plastik, in Zusammenhang mit Uhrengehäusen. So hat Clodion ebenfalls eine Bacchusnymphe in Marmor auf einer Liege gestaltet, für eine Musikuhr, die in die Sammlung von Prinz Napoleon in Brüssel kam.Als ein weiteres Vergleichsbeispiel kann eine ähnliche Kaminuhr zitiert werden, gefertigt von Courvoisier & Compagnie, La Chaux-de-Fonds, mit der ebenfalls vergoldeten Bronze von Thomire, Paris (Inv.Nr. IV-693). Die Zuweisung an Thomire basiert auf einem Entwurf im Stockholm National Museum of Fine Arts.Letztlich jedoch verrät uns ein Katalog des Hotel Drouot, Paris (Salle M. Etienne Ader, Lot 121), vom 18. Juni 1848, mit Abb. den Bronzier Claude Galle (1759-1815).Der Uhrmacher unterhielt sein Atelier laut seiner Briefadresse in der Rue Vobert 1 sowie Rue Vivienne 9, wurde 1786 Meister, dann Lieferant für die Ausstattung der Schlösser Fontainebleau, Les Tuileries, Compiégne und Rambouillet. Auch außerhalb Frankreichs belieferte er höchstrangige Auftraggeber, wie etwa das Savoy-Schloss Stupinigi bei Turin oder den Quirinal in Rom. Unter Napoleon I galt er als einer der bedeutendsten Bronzehersteller Frankreichs. Als Hersteller und Distributeur unterhielt er im Jahre 1811 nahezu 400 Mitarbeiter, somit eines der größten Unternehmen. 1806 wurde er anlässlich einer Kunstindustrieausstellung mit einer Medaille ausgezeichnet; für eine figürlich gestaltete Uhr, die sich heute im Museum des Château Malmaison befindet.Nicht allein der Entwurf, sondern auch die hervorragende Fertigung macht dieses Objekt zu einem der markantesten Beispiele des Pariser Empire und ist ohne Zweifel als bedeutend museal zu bezeichnen. Tadelloser Zustand. Das Pendel sowie ein Schlüssel vorhanden.Nicht auf Funktionsfähigkeit geprüft.Literatur:Vgl. Michael Edward Shapiro, Monsieur Galle, Bronzier et Doreur, in: The J. Paul Getty Museum Journal, Bd. 6/7, 1978/1979, S. 57-74.Vgl. Louna Zek, Bronzes d‘ameublement et meubles français achetés par Paul I-er pour le Château Saint Michel de Saint Petersbourg 1798/99, in: Bulletin de la Société de l'Histoire de l'Art Français, 1994.Vgl. Jean Dominique Augarde, Une nouvelle vision du bronze et des bronziers sous le Directoire et l‘Empire, in: L'Estampille - L'Objet 'art, Januar 2005, Nr. 298, S. 62-85. (1350596) (1) (10)Important empire style mantel clock of the highest quality with figural décor by Claude Galle (1759 – 1815)56 x 48.5 x 17.2 cm.Paris, ca. 1810.Functions:The clockwork with round brass plates, connected by four pillars. Lever work with pendulum on silk suspension. Fourteen-day striker. Blackened Breguet hands for hours and minutes. Count wheel striking mechanism for half-hour and hour strike on silver-plated bell.Case: Bronze; gilt and with brown patina; green marble. The design primarily emphasizes the sculptural, an artistically outstanding achievement as a classicist sculpture, while the clockwork is subordinate in the overall appearance. The emphasis on the two-colour effects of brown and gold give an appearance of dignified elegance. The design of the green-coloured stepped base in Vert-de-mer marble seems restrained but is connected to the figurative work by means of round gilt feet. The figurative design features a bacchanalian maenad reclining on a cushion on a black patinated recamier, richly decorated with gilt applications. She is only dressed in a cloth draped around her waist. She is stretching out with her raised arms holding a large bunch of grapes with leaves above her face. Her gaze is hooded, appearing almost intoxicated. A tambourine with a thyrsus between two wine jugs is positioned at the foot of the recamier by her feet. In accordance with this ancient subject, the applications on the front of the recamier also refer to the Bacchus theme: two panthers are feasting on grapes in a basket. They are the attribute animals of the wine god Bacchus, who, according to legend, was raised by a panther. Panpipes are shown on the sides, below the masks of the horned Pan appear on the goat feet of the recamier. The backrest is decorated with a rearing goat and a ram's head rhyton. The clockwork is inserted at the centre below the recamier.Dial:The white enamel dial shows Roman hours and Arabic quarter hours, “Le Roy” inscribed above number VI.The subject of the figurative design can be traced back to rich ancient legends that were handed down by the Roman poet Ovid. The prehistoric invention of wine production plays a major role here, such as the legends of Bacchus and Erigone, the daughter of Icarius. It recounts that Bacchus betrayed the secrets of wine production without mentioning the consequences of drunkenness, whereupon Icarius was killed. But even without this background, the motif of the drunken maenad in the entourage of Bacchus often gave inspiration to artistic expression. And this was also the case for figurative work in combination with clock cases. Clodion also designed a nymph of Bacchus on a couch in marble for a musical clock that came into the collection of Prince Napoleon in Brussels. A similar ma...

JOHN MALTBY (1936-2020). A figural sculpture in black-glazed ceramic, on rectangular plinth, signed to underside & with impressed monogram to reverse, 6½” wide x 6¾” high.

In the manner of Georg Baselitz (German b.1938), a wooden carved figural sculpture on a square wooden base, figure height 97cm.Some rottenness to the wood on the head

A patinated bronze figural Spaniel dog sculpture, on simulated marble base, base length 12cmNo damage or restoration

* 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

* 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

ART DECO BRONZE FIGURAL SCULPTURE EARLY 20TH CENTURY modelled as a female nude reading a book, unsigned, mounted on rectangular hardstone base20cm longFigure in good condition, some light pitting but no other apparent issues; base has been cracked through and glued with further small chips and nibbles

A pair of Austrian cold painted bronze figural candlesticks, one as an "Arab with rifle stood beside an Egyptian sculpture", the other as a "Figure carrying water vessel beside the same statue" by Franz Bergman, Vienna, both bearing Bergman "B/vase" stamp and stamped "Geschutzt", 18 cm high

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTIONBronze Signed and dated 68 Height 31cm (12in.)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. Some minor nicks, marks and scratches to the surface most notable to the back of the head. Otherwise appears to be in good original condition. Condition Report Disclaimer

A BRONZE FIGURE OF PADMAPANI, GUGE KINGDOM, WESTERN TIBET, 11TH-12TH CENTURYFinely cast, standing on a lotus dais over a stepped pedestal cast with a central figure flanked by two lions, his right hand in abhayamudra and his left clutching a lotus stem blossoming at his shoulder, wearing a short dhoti with neatly incised folds and richly adorned with beaded jewelry. The face with elongated eyes, the hair in a topknot centered by a small image of the Buddha Amitabha, all backed by a finely incised flaming nimbus and aureole.Provenance: German trade. By repute from a noted German private collection. Condition: Good condition, commensurate with age. Extensive wear, losses, small dents, minor nicks, light scratches, encrustations. Fine, naturally grown patina with malachite and cuprite encrustations.Weight: 796.7 g Dimensions: Height 18.2 cmThe ancient Kingdom of Guge was a small Western Himalayan kingdom which was founded by King Yeshe-OE and flourished from the tenth through twelfth centuries. Its artistic tradition was heavily influenced by Kashmiri sculptural and painting styles due to the presence of Kashmiri teachers and artisans active in the area during the period of the second dissemination of Buddhism in Tibet (c. 950-1200). The manner of modeling the rounded face with long, thin eyes, the pronounced belly, and the conjoined nimbus form in the present work are all reminiscent of Kashmiri prototypes that began appearing in Tibet at the turn of the eleventh century.Literature comparison: The style of depiction closely resembles murals in caves such as those at Ropa and Tsaparang, surrounding the Sutlej River which was once the heart of the western Tibetan Kingdom of Guge. The present sculpture, with its restrained representation, differs from the early masterpieces of Kashmir, which are defined by their exaggerated features. Compare the iconography, proportions, and rendering of the facial features of the present work with a related figural depiction of Eleven-headed Avalokiteshvara attributed to the Tholing region of Western Tibet, from the eleventh century, at the Los Angeles Museum of Art, accession number M.78.40, illustrated by C. Luczanits in Collecting Paradise: Buddhist Art of Kashmir and Its Legacies, New York, p. 111, fig. 2.4.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2022, lot 406 Price: USD 32,760 or approx. EUR 31,000 converted at the time of writing Description: A bronze figure of Eleven-headed Avalokiteshvara, Western Tibet, probably Guge, 11th-12th century Expert remark: Compare the closely related stepped base with similar central figure and lions, and incised nimbus and aureole. Note the smaller size (12.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2011, lot 350 Price: USD 98,500 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Padmapani, Kashmir or western Tibet, 11th/12th centuryExpert remark: Note the much larger size (33.7 cm)Auction result comparison: Type: Closely related Auction: Bonhams New York, 13 March 2017, lot 3062 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Manjushri, Western Tibet, Kashmir Style, circa 11th century Expert remark: Note the similar size (19 cm)十一至十二世紀西藏古格王朝蓮花手菩薩蓮花手菩薩站在蓮台上，蓮臺壁上可見兩隻獅子，他的右手施無畏印，左手抓著在他的肩膀上盛開的蓮花莖部，衣紋褶皺流暢，佩戴華麗瓔珞。雙眼低垂，盤髻中央有一尊小阿彌陀佛像，身後有火焰光背。 來源：德國古玩交易，據説來自一個德國紳士收藏。 品相：品相良好，大量磨損、缺損、小凹痕、微刻痕、輕微劃痕、結殼。精美的天然包漿，帶有孔雀石綠和赤銅色結殼。 重量：796.7 克 尺寸：高 18.2 厘米 古格王國是喜馬拉雅西部的一個小王國，由耶西烏國王建立，並在十世紀到十二世紀達到興盛。在西藏第二次傳播佛教期間（約 950-1200 年）活躍在該地區的克什米爾工匠的藝術風格深受克什米爾雕塑和繪畫風格的影響。本造像的圓臉、細長的眼睛、突出的腹部和連體的光背造型方式，都讓人聯想到十一世紀初在西藏開始出現的克什米爾原型。

CHUM by KAWS (AKA Brian Donnelly, b1974). This clear resin Chum from 2002 is and early example of KAWS's ventures into figural sculpture. Limited to an run of 1000 units it was made in collaboration 360 Toy Group, Tokyo. The figure comes in its original plastic zip lock bag.

Collection of Star Wars Memorabilia and Collectibles including, Riddell Star Wars Trilogy Collection Authentic Miniature Helmets Darth Vader Helmet, Near Mint, Within Good Plus Opened packaging, Code 3 Collectible Star Wars Revenge Of The Sith Movie Poster Collectible Sculpture, Limited Edition, Near Mint, Within Excellent opened packaging, Star Wars Exclusive Pewter Collectible Darth Vader Bottle Opener, Near Mint, Within Good Plus opened packaging, Star Wars Darth Vader Giant Pez Dispenser, Mint Unopened, Star Wars Darth Vader Figural Mug, Mint Unopened, Star Wars Ceramic Darth Vader Mug, Mint Unopened, Star Wars Darth Vader Money Bank, Near Mint, Within Excellent opened packaging, Star Wars Episode 1 Lightsaber Battle Musical / Action Sounds Alarm Clock, Excellent, Within Excellent opened packaging, Star Wars Stormtrooper Portable Table Lamp, Mint Unopened. (9)

Large and heavy bronzed figural kneeling nude sculpture, approx. 50cm high

TWO BOXES AND LOOSE BRASS AND COPPER WARES, to include large circular trays largest 69cm diameter, a brass figural sculpture height 27cm, two brass bells, a copper helmet shaped coal scuttle, copper kettles, a heavy brass twin handled vessel, etc (2 boxes + loose) (sd)

A Box of collectables to include Tiffany inspired fairy figural lamp with stainglass wings [One wing as found], Heavy gilt painted column and eagle table lamp, Gilt brass eagle sculpture, Two metal candlesticks and Foley blue and white wares

Villeroy & Boch crystal three branch candelabra, Waterford crystal water jug, Nachtmann crystal bowl and Vintage Murano Glass figural art glass sculpture

A large 20th century raku fired terracotta three-section garden sculpture of stylized figural form, height 155cm. Provenance: from the estate of Jeannette and Wilfred Cass, Cass House, Goodwood, Chichester.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Small collection of Chinese ceramic and glass snuff bottles, together with a Chinese bronze figural sculpture. (9)

Emile Coriolan Hippolyte Guillemin (French, 1841-1907): A pair of patinated bronze figural groups of 'Les Tragediens'the two groups depicting 16th century gamblers in dispute, and as duellists, with cards and a tankard to the base, signed E. Guillemin, on oval bases, 24cm high approximately (2)Footnotes:Provenance Sothebys, Shadwell Park, Thetford Norfolk, Wednesday 21st and Thursday 22nd October 1992, lot 487.Guillemin studied under his father, Emile Marie Guillemin, as well as Salmson. From 1870 he exhibited at the Salon and in 1897 won an honourable mention.Literature: J.Mackay, Dictionary of Western Sculpture in BronzeThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Josef Bofill (Spanish, born 1942) A bronze figural and marble sculpture Signed 38cm high. Provenance: Property from a Hampstead apartment Artist Resale Right may apply

Oriental decorative bronzed bell with carved Buddha and figural decoration, and dragon head form handle, (height 24cm approx); together with an Oriental bronzed seated woman figural sculpture, on stone base, (height 20cm approx).

Caroline Stacey (1931-2022). Crouching Child, green patinated cast bronze figural sculpture, on composite balck base, 31cm high.Provenance: Bought from the Alwin Gallery in 1983 from the Communication exhibition that ran from March 27th to April 18th. Sold with associated paperwork.

A PAIR OF BRASS FIGURAL CANDLESTICKS LATE 19TH CENTURY modelled after Giambologna's sculpture of a fowler or bird catcher, each carrying a pair of sconces (2) 24cm high

A bronze contemporary figural sculpture, signed G. Prieto 46/99 together with another similar bronze signed Del Comune? 01/30. Tallest 15cm

After Pierre Jules Cavelier After Pierre Jules Cavelier, 'Penelope', a late 19th century Neoclassical bronze figural sculpture modelled as a maiden in flowing robes sleeping in a chair, set on an oval base, stamped 732 J.Cavelier and 'Reduction Mechanique, A. Collas'.37cm highIn good overall condition, consistent colour apart from two very small patches (photographed). No cracks. A few small nicks, mainly around the chair legs, edge of the base and one to the back of the neck, again photographed.

AN AFRICAN BRONZE STYLISED SCULPTURE OF AN ELONGATED MAN WITH SPEAR, 51cms H, a similar taller figure with oxidised finish, cast metal candleholder with figural column as a Native Lady with gourd on head, 24cms H, ETC

A bronze semi-naked dancer figural bookend and a bronze sculpture of a finch on a stump, 20th c, bookend 15.5cm h Good condition

Auguste Rodin, 1840 Paris – 1917 MeudonBronzegruppeL‘ÉTERNELLE PRINTEMPS Höhe: 24,8 cm. Max. Breite: 32,5 cm. Tiefe: 19,6 cm. Höhe mit Sockel 31 cm.Salon 1898.Zweiter Zustand von 1896, 4ème réduction, auch bezeichnet „no 2“, frühe Auflage und früher Guss nach dem Modell von 1884. Die Symbolik des Frühlingswind hier durch die Gestalten eines sich küssenden jungen Paares verbildlicht. Diese Gestaltung des Themas ist im Zusammenhang mit dem berühmten „Kuss“ Rodins zu sehen, dessen Tonmodell um 1881 geschaffen wurde. Es wurde früh erkannt, dass das Thema eng mit der Begegnung mit Rodins Modell, der 24 Jahre jüngeren Schülerin und Bildhauerin Camille Clodel in Beziehung steht, die er später ehelichte. Die junge Frau neigt sich hingebungsvoll dem Jüngling zu, der sich über sie beugt. Die Gruppe in einen naturalistischen Zusammenhang mit Andeutung eines verwilderten Baumstammes gestellt. Hier deutet sich bereits der von Rodin später weiterentwickelte Impressionismus an, während die Körper noch in einem dramatischen Naturalismus gestaltet sind.François-Auguste-René Rodin gilt als Erneuerer der Plastik und zählt zu den größten Bildhauern der Neuzeit. Sein Werk ist so umfangreich, dass bis heute noch kein vollständiger Katalog seiner Werke erschien. Das vorliegende Werk entspricht dem Original in Bronze, das sich im Musée Rodin in Paris befindet.Das Werk wurde bereits anlässlich eines Besuches des Kritikers Willem Bywanck in Rodins Atelier 1891 gewürdigt und interpretiert. Die Figuren wollte Rodin ursprünglich in sein bedeutendstes Werk, das „Höllentor“ integrieren. Jedoch erschien dem Künstler die Harmonie der Beiden für dieses Thema zu fremd. Jedenfalls jedoch ist im dortigen Werk eine Andeutung gegeben, in der Einbringung seines Torsos der „Adele“.Die hier vorliegende Bronze ist der 2. Zustand von 1896 „4ème réduction“, mit Signatur „Rodin“ an der rechten Seite, rückversetzt. Gießerbezeichnung „F. BARBEDIENNE Fondeur“ (Paris), mit dem Rodin einen Vertrag hatte. Im Inneren zweifach eingeschlagene Nummerierung „VI“.Guss um 1905 – 1910, bei einer Auflage von 69 Exemplaren zwischen 1898 und 1918, die heute im Museum-Rodin ausgestellt sind.Sehr schöne braune, nuancenreiche Patinierung. Platziert auf dafür eigens zurechtgestaltetem grünem Marmorsockel, darauf altes graviertes Metallschild mit Titelbenennung „L‘Éternelle Printemps“ und Künstlerbezeichnung. Provenienz:Ètablissements Leblanc-Barbedienne, Paris, Privatsammlung Uruguay, erworben vor 1940.Literatur:Vgl. Dominique Jarrassé: Rodin. Faszination der Bewegung. Editions Terrail, Paris 1993.Vgl. Roland Bothner: Elemente des Plastischen von Donatello bis Brancusi. Heidelberg 2000.A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris 2007. Dort ein weiteres Exemplar S. 334 abgebildet.Die Bronze wird in dem momentan in Vorbereitung befindlichen Catalogue critique de l‘oeuvre sculpté d‘Auguste Rodin aufgenommen, welcher bei der Galerie Brame & Lorenceau bearbeitet wird (Nr. 2020-3326B).Die Bronzegruppe in den Sammlungen:Musée Rodin, Paris, Frankreich.Museum of Fine Arts, Boston, U.S.A.N.J., Kasser Foundation, Montclair, U.S.A. (1341261) (11)Auguste Rodin,1840 Paris – 1917 MeudonBronze figural group L‘ÉTERNELLE PRINTEMPSHeight: 24.8 cm. Max. width: 32.5 cm. Depth: 19.6 cm. Height incl. base: 31 cm.Salon 1898.This version referred to as “second état” executed in 1896, 4th reduction, also inscribed “no 2”, early edition and early casting based on the model from 1884. The symbolism of spring is illustrated here by the figures of a young couple kissing. The sculpture on offer for sale here corresponds to the bronze original, which is held at the Musée Rodin in Paris. The work was already appreciated and interpreted during a visit by the critic Willem Bywanck to Rodin’s studio in 1891. The version presented here is the so called “second état” from 1896, “4ème réduction”, signed “Rodin” on the right side, set back. Foundry mark “F. BARBEDIENNE Fondeur” (Paris), with whom Rodin had a contract. Number “VI” stamped twice on the inside. Cast around 1905-1910, with an edition of 69 copies between 1898 and 1918, which are now on display in the Rodin Museum. Very nice brown, nuanced patina.Provenance:Ètablissements Leblanc-Barbedienne, Paris. Private collection, Uruguay, acquired before 1940Literature:This work will be included in the catalogue critque de l’oeuvre sculpté d’Auguste Rodin in preparation at the gallery Brame & Lorenceau (no. 2010-3326B).

Erik Hoglund (1932-1998) for Boda Glasbruk/Boda Smide, Figural sculpture, circa 1960, Glass, Inscribed to underside 'Erik. H', 17cm highPlease refer to department for condition report

THREE BOXES AND LOOSE CERAMICS, ORNAMENTS AND SUNDRY ITEMS, to include five boxed oriental sets of cups, bowls, plates, etc, a carved stone figural sculpture with sticker 'Made in Zimbabwe', a box of Country Artists and The Country Bird Collection resin bird and animal ornaments, ten pieces of Ridgways 'Scenes from Charles Dickens' dolls tea wares, large Babbacombe Pottery cats height 31cm, etc (3 boxes + loose) (sd)

A Makonde Tree of Life carved figural sculpture (Southeast African), together with another African carved ebony standing figure and a carved ebony elephant walking stick, the Makonde sculpture approx. 54cm in height (3) Condition Report:Not available for this lot.

A Moore & Co Fire-proof Southwick slipware dish, a carved wood figural sculpture, assorted jasperware etc Condition Report:Not available for this lot.

A LARGE AND IMPRESSIVE EARLY 19TH CENTURY FIGURAL BRONZE AND SIENNA MARBLE MANTEL CLOCK the patinated bronze sculpture modelled as a Classical Greek philosopher holding a stick standing beside a bronze mounted Sienna marble column with relief bronze ring showing the signs of the zodiac enclosing a 3.5" enamel dial with Roman numerals fronting an eight-day spring driven movement with outside countwheel and silk suspension striking the hours/half hours on a bell89cm highThe clock is in very good original condition having very good color and patina to the bronze figure. The sienna marble is in good order with no losses or breaks. The dial has no cracks or restoration. The movement is complete, chiming on the bell with the original pendulum but it is dirty and would require a service. We do not guarantee mechanical parts or functionality.

ANTON ENDSTORFER (1880-1960) AN ART NOUVEAU BRONZE AND IVORY FIGURAL SCULPTURE depicting a young lady with ivory head and pearl headdress - signed to base, mounted on an Antico Verde marble plinth base.UK Ivory Act 2018 Exemption Submission Reference - 51UBQ82335cm high

AN EARLY 20TH CENTURY CLASSICAL FIGURAL GILT BRONZE SCULPTURE depicting a young girl mounted on a rouge marble circular base.20cm high 25cm diameter.

FERDINAND BARBEDIENNE (1810-1892). A 19TH CENTURY FIGURAL BRONZE SCULPTURE depicting a seated Female entilitled EUG.ne. AIZELIN signed F. BARBEDIENNE Paris.53cm high

PAUL PHILLIPE (1870–1930). AN EARLY 20TH CENTURY FRENCH MIXED MEDIA FIGURAL SCULPTURE OF A YOUNG LADY the white marble and ivory body mounted on a moulded marble base - signed.UK Ivory Act 2018 Exemption Submission Reference - CEFKTLZF45cm high

AN EARLY 20TH CENTURY FIGURAL BRONZE SCULPTURE OF AN INDUSTRIALIST the seated figure by a wheel reading a tablet; on stepped veined black marble plinth base - signed Fullborn 23cm high

A 19TH CENTURY BRONZE HORSE AND FIGURAL SCULPTURE of Odin the god of wolves - mounted on a veined grey marble base. 56cm wide 49cm high

Attributed to Ernesto Gazzeri (Italian, 1866-1965): A carved alabaster figural group of the Three Graces After Antonio Canova (Italian, 1757-1822)The embracing female nudes clad in flowing drapery with loose chignons, raised on a naturalistic oval base, bearing an indistinct and partly obliterated studio mark Studio. *** O. Andreo**. Roma*, 82.5cm high overall, the base 44.5cm in lengthFootnotes:*Ernesto Gazzeri is known to have signed his works 'E.Gazzeri. Studio O Andreoni Roma'. Born in Modena in 1866, Ernesto Gazzeri later moved to Rome where, inspired by his classical surroundings, he became a marble sculptor of repute. Known for sculptural portraits and funerary monuments, he particularly remembered for his late masterpiece, a monument to Tommaso Campanella modelled in 1923 in Stilo, Italy, although he also executed genre works and mythological subjects as well as copying antique works and previous masters.The original monumental figural group of the 'Three Graces' by the acclaimed Neoclassical sculptor Canova depicts the daughters of Zeus and the sea nymph Euronyme and the handmaidens of Venus and companions of Apollo. The three mythological figures depict Euphrosyne, Aglaea and Thalia representing youth, mirth, and elegance and also the three stages of love - Beauty, arousing Desire, leading to Fulfilment. The origins of the group lie in 4th century BC Greek sculpture where the virtuoso sculptor Praxiteles is believed to have modified one of his iconic marble Venuses and replicated her two further times. The theme continued through the Hellenistic period and was perhaps best popularised in third century-style Pompeiian frescoes, the most famous of which - from the house of Titus Dentatus Panthera - is in the National Archaeological Museum, Naples. In 1812, Canova modified the composition from the antique prototypes by twisting the central figure, so that she would face the onlooker, and by drawing the sisters closer together, in a warmer and more seductive embrace. The sculptor's first group of The Three Graces was commissioned by Empress Josephine in 1812. Completed after her death in 1816 and taken to Monaco by her son, Eugène de Beauharnais, the marble group then became the property of the Duke of Leuchtenburg and was transported to St. Petersburg, where it is now kept in the Hermitage. In 1815, John Russell, the 6th Duke of Bedford, commissioned a second version from Canova. This marble version which is slightly smaller and varies in some details was completed in 1817 and installed in Woburn Abbey two years later. It was acquired in 1994 jointly by the V&A, London, and the National Galleries of Scotland, Edinburgh.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com