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Lot 703
THREE LARGE FISH SCULPTURES, comprising a bronze double tarpon fish sculpture by SPI Gallery, mounted on a branch, finished with a green marble base, the bronze has an antique look finish, height 40cm, makers label on the base, a David Hughes bronze large pike, with a captured fish, over rock and reed base, individual makers mark and signed David Hughes No.22, LE29 carved into the model near the base, mounted on a light wood plinth, length approximately 63cm (one reed has detached but is present, some details on the fins are a little rubbed, and the wooden plinth could use some attention), a carved wooden pike, mounted on a wood log, carved scale detail and naturalistically hand painted, length approximately 112cm, the back of the sculpture is flat, possibly could be wall mounted or from a display (3) (Condition Report: overall all items are in fair condition, see main description for specific item damage)
Lot 31
A finely detailed bronze lizard sculpture mounted on a polished marble base. The lizard is depicted in a lifelike pose, with textured scales and expressive facial features, highlighting the craftsmanship of the piece. The marble base has a striking veined pattern, complementing the bronze's patina. The bottom of the base is lined with black felt for surface protection. This decorative piece exudes a naturalistic aesthetic, making it an excellent addition to any collection or interior display.Issued: 21st centuryDimensions: 10.5"LCondition: Age related wear.
Lot 152
ANCIENT GREEK ARCHAIC MARBLE HEAD OF A KOUROS GREEK ISLANDS OR SICILY, C. 6TH CENTURY B.C. carved marble, with stylised features typical of the period, including a long oval face, high cheekbones, almond eyes, curving brows, and an enigmatic smile, the hair is finely carved, with undulating waves along the forehead, falling in plaits behind the ears and along the neck, fleshy lips formed into an enigmatic smile enhancing the expressive quality, raised on a bespoke mount 25.7cm tall Lamonaca Family Collection, France, formed 1950s, thence by descentSubsequently in a private collection, Paris, France This head was likely part of a life-size statue depicting a nude young man, referred to as a kouros, derived from the Greek word for boy. Its stylistic features suggest it was produced by a provincial workshop. The head displays the emblematic "Archaic Smile," a defining feature of Greek sculpture from the late seventh and early sixth centuries BC. This subtle, enigmatic expression was employed to animate figures and convey an idealised sense of vitality and well-being, symbolising internal harmony rather than reflecting individual emotion. The widespread use of this motif can be seen across a wide array of scenes, even in depictions of mortally wounded warriors, highlighting its symbolic role. While its exact meaning is still debated, the smile likely reflects the Greek ideal of arete (excellence) and may also suggest a philosophical expression of life and the afterlife.
Lot 140
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), THE LOVERS bronze sculpture on marble base, signed42cm high (including base), 31cm wideNote: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Lot 55
Elegant abstract sculpture from the Marquis Collection, finely crafted from polished marble with an expressive dual-face design. The piece features a striking contrast between dark and veined marble, enhancing its modern aesthetic. Elevated on a black marble pedestal, the sculpture exhibits a sleek, contemporary form with smoothly contoured faces that merge in an emotive embrace. A sticker on the base indicates quality inspection for the Marquis Collection of Beverly Hills.Issued: 20th centuryDimensions: 28"HCondition: Age related wear. Small chip on corner of base.
Lot 163
James Havard Thomas RWA, British, 1854-1921, a marble portrait relief of a lady, dated 1898, signed J HAVARD THOMAS.Sc MDCCCXCVIII, mounted in a marble frame, 34cm diameter overallNote: James Havard Thomas exhibited at the Royal Academy, The British Institute and the Paris Salon during his career as a sculptor. He became Professor of Sculpture at the Slade School of Art in 1915.
Lot 96
A Sèvres white biscuit porcelain figure of Hébé, c.1767-70, incised script B on top of base for Bachelier, modelled by Jean Jacques Bachelier, scantily clad in a loose robe and holding a ewer at her left side, and a cup in her right hand, standing on a circular plinth base, a large bunch of grapes behind her, mounted on a white marble plinth, 22.4cm high overallProvenance: By family descent from Joseph François Léon Arnoux (1816-1902), the Sèvres-trained artist, designer, and Art Director for Minton Pottery from c.1849-92. Note: For another example of Hébé, see Tamara Préaud and Guilhem Scherf, La Maufacture des Lumières, La Sculpture à Sèvres de Louis XV à la Révolution, Dijon, 2015, p. 149, no. 87, where the authors note that this figure was designed to serve as a counterpart to Falconet’s Flore of 1761. For inspiration, Bachelier turned to the statue by Jacques-François-Joseph Saly (which was commissioned by Madame de Pompadour for her château at Crécy, and exhibited at the Paris Salon in 1753).Condition Report: Overall the condition of this figure is good, with only slight chipping to the garland of flowers around her head and to one grape at the reverse of the group. There are various dirt-filled firing cracks which date from the time of manufacture. The largest is to her robe at the back of the figure.
Lot 153
§ § Salvador Dali (Spanish, 1904-1989) Le Cabinet Anthropomorphique, 1973sterling silversigned, inscribed "Sterling" with the edition number 128/330-A on left side of drawers, cast by Foneria Mibrosa, Barcelona, with the foundry mark on drawers verso11.5cm high, 23cm long Published: Passoni, Morse and Field, Dalí, Milan, 1986, page 79 (bronze cast illustrated); Levi, The Dalí Universe, London, 2000, pages 80-81 (larger bronze cast illustrated); Descharnes, Dalí, The Hard and the Soft, Spells for the Magic of Form, Sculptures & Objects, Azay-le-Rideau, 2004, page 266, number 683 (bronze cast illustrated); Lechien, Dalí, Dalí! ou l'éclosion apothéosique d'un sculpteur, Brussels, 2004, pages 70 and 99 (larger bronze cast illustrated).Dalí's (1904-1989) Le Cabinet Anthropomorphique revisits his celebrated Venus de Milo with Drawers, plaster, 1936, for which he appropriated the form of the famous classical Greek marble now in the Musée du Louvre, Paris. The Art Institute of Chicago, which holds the Dalí plaster sculpture, notes, "Among Dalí's many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 / 120 BC), altered with pompon-decorated drawers in the figure's forehead, breasts, stomach, abdomen and left knee. The combination of cool painted plaster and silky mink tufts illustrates the Surrealist interest in uniting different elements to spark a new reality. For the Surrealists, the best means of provoking this revolution of consciousness was a special kind of sculpture that, as Dalí explained in a 1931 essay, was 'absolutely useless . . . and created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.' Dalí's essay, which drew upon the ideas of Marcel Duchamp's readymades, inaugurated object making as an integral part of Surrealist activities.Influenced by the work of Sigmund Freud, Dalí envisioned the idea of a cabinet transformed into a female figure, which he called an 'anthropomorphic cabinet.' Venus de Milo with Drawers is the culmination of his explorations into the deep, psychological mysteries of sexual desire, which are symbolized in the figure of the ancient goddess of love."Dalí also made an oil on wood painting of the subject, Anthropomorphic Chest of Drawers, 1936, now in a private collection, Germany, and a lithograph, Drawers of Memory, 1965. Very good condition with no faults noted, nice bright colour to the silver, on a marble plinth which has some light scuffing which is essentially in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 64
After Pierre-Jules Mene (1810-79) a bronze equestrian sculpture 'L' Accolade No2' (The Embrace No2) signed P J Mene and dated 1869, mounted on a marble plinth. L'Accolade is one of Mene's most famous works, first exhibited at the Paris Salon in 1852 with the title 'Tachiani and Nedjesu' depicting a courting Arab mare and stallion, 42cm high x 68cm wideIf there is no condition report shown, please request
Lot 160
AFTER THE ANTIQUE- A PAIR OF TERRACOTTA FIGURES 'THE FURIETTI CENTAURS' PROBABLY ROME, 19TH CENTURY 35 and 40cm high, bases 21 cm by 9.5cm Provenance: Di Castro, TEFAF Maastricht. Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92. The 1st-century marble originals of this pair of centaurs, which were themselves copies of a 2nd-century B.C. Hellenistic bronze pair, were found together at Hadrian's villa in Tivoli by Monsignor Giuseppe Alessandro Furietti in 1736. After his death they were sold by the family and have been in the Capitoline Museums ever since. In some versions each figure would have been ridden by Cupid amorini, possibly illustrative of the romantic and sexual desires which torment the old and delight the young. The excavation of the centaurs was celebrated by the publication of engravings by Girolamo Frezza and subsequently by a series of 'bronzetti' cast by Francesco Righetti and Giacomo or Giovanni Zoffoli as well as versions in white biscuit porcelain by Giovanni Volpato. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. These present well and have modern black baize applied to undersides. Under strong light there are darker areas which indicate small repairs notably to raised right arm at elbow, several small raised surface details. There are also contact marks from handling. Under household UV these faults are also visible together with small green and orange stains- possibly surface contact with household waxes or atmosphere dirt. Under strong UV there are darker patches and signs of colour variances. This may be indication of original modelling and construction revealed under surface but in some cases- such as legs and hooves- is probably indicative of professional restorations. We would recommend that prospective buyers inspect this lot first hand or have their advisors do so and satisfy themselves as to condition and accuracy of description and condition. Please 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. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. 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. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. 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
Lot 28
ATTRIBUTED TO LAURENT DELVAUX (1696-1778) A TERRACOTTA FIGURE OF HERCULES EARLY/MID 18TH CENTURY Terracotta on an integrally modelled square base, inscribed '24397' to paper label to underside 54cm height Provenance: Acquired from Tajan, Paris, 13th December 2006, lot 93 J. Kugel, Paris, 2007 Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900 , New Haven and London, 1981, pp. 229-232, no. 46. This work attributed to Laurent Delvaux would seem to draw its inspiration from the 2nd century AD Roman marble figure of Hercules discovered in the Baths of Caracalla in Rome by 1556 and was acquired by Pope Paul III Farnese. Subsequently held in the Museo Nazionale, Naples, the "Hercules Farnese" was the inspiration for various work by Delvaux depicting Hercules at rest and it is likely that he studied the original figure at first hand during his trip to Rome in 1728. Of his depictions perhaps the best known is the life-size marble statue for Lord Castlemaine made in around 1722 and which is now housed in Waddesdon Manor, England. In this example the sculptor has shifted the composition to present a less static figure, the tree moved behind the figure and leg positions switched over to echo the diagonal line now established by the left arms reaching across the body. Condition Report: Please note- cataloguing should read "inscribed '24397' to paper label to underside" With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with contact marks and surface dirt from handling. Small section of sticky tape residue to bottom of spine. When sold at Tajan it was catalogued with restorations. Visible old restorations to left arm above elbow, left and right wrists, section of right arm and under right hand. Further remedial works probably to neck and to some raised elements. Under UV later remedial painted spot retouchings to surface throughout which from different colours seem to be from a variety of ages. Firing faults visible to underside. Please 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. 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. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. 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. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. 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
Lot 107
Limited edition mixed metal sculpture by C.A. Pardell for Legends Fine Art, titled "American Horse Takes His Name", numbered 527/950 and crafted in 1991. Featuring a Native American warrior on horseback, this piece showcases intricate detailing, dynamic motion, and a bronze-like patina. Mounted on a polished marble base, it is marked Legends USA, Mixed Media™, and artist’s signature, and comes with the original box, making it a valuable collector’s item.Artist: C. A. PardellIssued: 1991Dimensions: 8"HCountry of Origin: United StatesCondition: Age related wear.
Lot 106
This dynamic sculpture by Yacov Heller features a beautifully detailed rooster, captured in mid-pose with intricate featherwork and a powerful stance. The piece is mounted on a square marble base, signed by the artist and marked "Yacov Heller, Jerusalem Israel." The elegant metalwork and marble combination add a classic yet bold aesthetic, making it a striking piece of art.Dimensions: 4.25"HCondition: Age related wear.
Lot 18
This exceptional early Renaissance Spanish School sculpture of the Madonna and Child in Majesty is a superb example of polychrome and gilded wood carving from the 14th to 15th century, likely originating from Castile or Aragon. Retaining much of its original polychromy, this remarkable piece embodies the transition from the Romanesque tradition to the more refined Gothic and early Renaissance styles that shaped Spanish religious art. The Virgin Mary, enthroned and crowned as the Queen of Heaven, holds an apple, symbolizing her role as the New Eve and the redemption of humankind. The Christ Child sits upon her lap, presenting the Holy Book while raising His hand in a traditional gesture of blessing, reinforcing the sacred bond between mother and son in Christian iconography.This sculpture illustrates the stylistic evolution occurring in Spain during this period, bridging the sacred formality of the Romanesque with the increasing expressiveness of Gothic and early Renaissance art. In earlier Romanesque traditions, religious figures were depicted with rigid, hieratic forms, emphasizing divine authority over naturalism. In contrast, this sculpture moves toward Gothic sensibilities, evident in the Virgin's more individualized and serene expression, the subtle modeling of her facial features, and the graceful articulation of drapery folds.The Christ Child also displays a departure from rigid formality. While still slightly stylized, His raised blessing hand and delicate gestures suggest a move away from the static, miniature-adult depictions of earlier periods toward a more naturalistic portrayal. The throne upon which the Madonna sits, adorned with geometric and floral motifs, incorporates elements of Hispano-Moorish artistic influence, reflecting the unique synthesis of Christian and Islamic design elements that flourished in Castile and Aragon during the Gothic period. The sculpture's polychrome and gilding further reinforce this transitional quality, particularly in its use of the estofado technique, where layers of gold leaf were overpainted and incised to reveal intricate patterns. This decorative approach, associated with later Gothic and early Renaissance Spanish sculpture, highlights the increasing technical and artistic sophistication of Spanish woodcarving workshops.The broader historical context of this work aligns with Spain's evolving artistic landscape during the late Middle Ages. Unlike Italy, where classical marble statuary became dominant, Spain remained deeply committed to intricately carved and lavishly painted wooden sculptures, emphasizing their sacred presence within churches and religious institutions. Devotional imagery such as this Madonna and Child in Majesty served as a focal point for worship, reinforcing the theological role of the Virgin as the intercessor between humanity and Christ. By the 14th and 15th centuries, Spanish sculptors had absorbed Gothic influences from France and the Low Countries, particularly through Burgundian and Flemish artists, leading to a synthesis of styles that maintained Gothic verticality while introducing more naturalistic facial expressions and drapery treatments.Issued: Circa 15th centuryDimensions: 16"L x 10"W x 40"HCountry of Origin: SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear.
Lot 96
§ George Somerville (Scottish, b.1947) Bark and Ride, a patinated aluminium sculpture of a cyclist and his dog, raised on integral marble plinth base, numbered 158/195 in the cast30 x 40 x 18.5cmProvenance:Accompanied by a numbered and facsimile signed certificate from DeMontfort Fine ArtIn good, original condition.
Lot 56
Sir Jacob Epstein K.B.E. (British/American 1880-1959) Nude study J bronze 57.5 cm long, on a white marble stand, total height 34 cm Provenance: From the collection of Mrs Elizabeth Corob.Literature: Buckle, Richard: Jacob Epstein, Sculptor (Faber & Faber, 1963), illustrated page 283, plate 437 (another cast) Overall in good condition. With a dark brown patina. Some surface dirt, particularly to the crevices. There are a some minor white marks to the bent elbow. There are some small spots of green oxidisation to one of the feet. The sculpture is not affixed to the marble base. The base has a chip.
Lot 136
Jeffery Hall (American, b.1956) 'Heavens View' Bonded Marble Sculpture Undated, signed and #20/90 verso, depicting two figures emerging from the moon, set on a round black stone base and wood plinth Property from: a Private Collector, Naperville, Illinois Height: 17 inches, Width: 16 inches, Depth: 8 inches (including plinth) Condition: no damage noted, not set evenly on wood plinth Category: Fine Art > Sculptures Estimated Sale Time: 10:36 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
Lot 119
Barbara Hepworth (British, 1903-1975) 'Involute' Patinated Bronze Sculpture Undated and unsigned as issued, depicting a curved abstract form which rests on base via a metal rod set into a polished black marble base Property from: a Private Collector, Eden Prarie, Minnesota Height: 6 5/8 inches, Width: 7 1/4 inches, Depth: 5 5/8 inches (excluding base) Condition: no condition issues noted, incised circular mark to underside next to rod, not permanently affixed, some nicks and chips to base at corners and edges Category: Fine Art > Sculptures Estimated Sale Time: 10:19 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10Photograph #11Photograph #12Photograph #13Photograph #14
Lot 948
THREE BOXES AND LOOSE CERAMICS AND GLASSWARE, to include dinnerware items names include Wedgwood, Royal Vale, Duchess, etc. decorative ceramics include Wedgwood collectors plates, Sadler covered pot, a grey made from marble. com elephant sculpture in grey, treen textured sculpture of an elephant, other names include NAO, Royal Doulton, Willow Tree, etc. glassware include vases and dressing table items, large footed bowl handmade by Star Glass UK, etc. names include Stuart Crystal, Thomas Webb, and Villeroy & Boch, (3 boxes + loose), (sd/af)
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