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A silvered metal sculpture of a lion cast from a model by Alfred Stevens originally designed for the British Museum, on later white marble base unsigned 19.5cm. high

A 19th century French onyx and marble figure of a classical muse wearing a wreath and gazing upwards, holding a book, her hair tied in a bun, her robe tied with a sash, on circular plinth base and a green onyx sculpture pedestal with revolving socle and plain column, on stepped plinth base Figure: 28cm wide, 84cm high. Pedestal: 30cm wide, 115cm high

A carved marble sculpture representing Psyche as a young girl, after the 18th century model by Falconet, she sits on a rock holding her bow, the base inscribed 'D' Apres Falconnet', on a turned socle base and a marble column, late 19th century, the sculpture plus socle: 23.5in (59.7cm) h, the column: 29.75in (75.2cm). (2)

G*ROSSI Marble sculpture bust of a classical figure, signed, on veined red turned marble socle, 14" high (see illustration).

A 20TH CENTURY BRONZE SCULPTURE of a naked torso, signed with initials 'T.H.P.' and on marble plinth, 8 1/2" high (see illustration).

A 19th century veined red and white marble sculpture pedestalthe revolving square shelf above a cylindrical column with moulded socle on stepped plinth base31cm wide, 107cm high, 31cm deep

AN ITALIAN MARBLE SCULPTURE of a shepherd boy with wine flask resting on a tree trunk, signed P Barranti Firenze (repairs), 28" high.

FINE COPELAND PARIAN BUST OF CLYTIE, late 19th century, the bust of the nymph emerging from a sunflower, impressed "Copeland" and J94". 57cm Note: The British Museum holds a smaller parian version of this bust (M&ME 1991,6-12, 1) which is based on a larger Roman marble sculpture (GR1805.7-3.79), also in the museum's collection and believed to date to c.AD 40-50. Clytie was a nymph who had fallen in love with the God Helios and been turned into a sunflower. The subject lot, at 57cm, is an exact replica in parian of the original Classical bust.

A MARBLE SCULPTURE OF "THE THREE GRACES" on a carved oval plinth (some damages) (see illustration).

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

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

White marble bust sculpture of a young woman wearing a headscarf, on green marble base, bears signature. Height 42cm.

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

A Bronzed Sculpture, of a young boy, signed D Martino, on a marble base, 19.5 cm, and a spelter bull (2)

The Reaper and The Flowers, after Louis Auguste Malempre, Copeland, for The Ceramic and Crystal Palace Art Union, published 1875, as an angel upholding a sleeping child, impressed title to the front, impressed factory and "A75", incised "L A Malempre Sc 1875", 58.5cm high This figure is illustrated in Copeland (Robert) Parian, Copeland's Statuary Porcelain, Antique Collectors Club, p.119, where it is described as being named after the last verse of Longfellow's poem of that name which accompanied the original marble sculpture; this was exhibited at the Royal Academy in 1874. Longfellow tries to dispel the notion that death is inevitably a fearsome thing by emphasising that flowers amidst the "bearded grain". The last verse reads: "O, not in cruelty, not in wrath, the Reaper came that day; twas an angel visited the green earth, and took the flowers away".

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

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

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

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

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

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

Carter (John) Ancient Architecture of England, illus with one hundred and nine engravings, half calf, with marble end boards, and another by the same, Painting and Sculpture in England (2) See illustration

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

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

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

a pair of 19th century walnut and satinwood sculpture pedestals the rouge marble square tops with ribbon-tied gilt metal braces above stop fluted columns on plinth bases with leaf cast gilt metal mounts (2) 28cm wide, 111cm high, 28cm deep

A veined pink marble sculpture pedestal, early 20th century, the square top on plain shaft with circular base and octagonal foot, 107cm high. Provenance: The Gilbert Bayes Charitable Trust

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

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

A modern green marble sculpture study of a horse 26".

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

A modern marble Sculpture, of two embracing foetuses, in the manner of Henry Moore, complete with socle, 16” high

A gilt bronze abstract sculpture by Percy Brown, circa 1970s, of abstract curved form, the gilt bronze exterior with verdi gres textured interior raised upon marble plinth, 32cm in height overall.

*Timyn (William, 1903-1990). Abstract figure, bronze sculpture, with patina, cast at the Morris Singer Foundry, London, designed for the TV Times Editor's Special Award, and given to Lord Buxton and the Survival team in 1989, approx. 140 mm high, 140mm width and 80mm depth, mounted on a marble plinth approx. 52mm high William Timyn was Austrian by birth and came to England in 1938. He is best known as a wildlife artist, sculptor and illustrator, and produced cartoons for the Blue Peter programme. He worked with the Morris Singer foundry from the 1970's onwards. (1)

*Townley (Charles (1737-1805)). Three original portraits of Paolo Veronese, Anibale Caracci and Antonio Caracci, drawn by Charles Townley from the original paintings in the Medici Collection, 1776, fine original drawings on paper, each with caption written to lower margins, occ. minor spotting, portrait of Anibale Caracci slightly damp stained, image approx. 355 x 310mm; 330 x 290mm & 355 x 290mm Charles Townley was a major collector of classical antiquities and marble sculptures, who made a number of long tours to Rome, as well as extended journeys to southern Italy, Naples and Sicily during the 1760s & 70s. In Rome he collected antiquities, especially marble sculptures. He established himself as a serious collector with purchases from the printmaker Giovanni Battista Piranesi and other Roman dealers, and especially from the English dealer in art and antiquities Thomas Jenkins. Over a period of more than twenty years Townley bought at some of the most important public sales of antiquities, among them those of Henry Constantine Jennings (1778), the Duchess of Portland's museum (1786), Lord Cawdor (1800), and Lord Bessborough (1801). Townley was elected fellow of the Society of Antiquaries in 1786 (and to its council in 1798) and fellow of the Royal Society in 1791. In 1786 he was also elected to the Society of Dilettanti, and from 1799 served on a committee appointed to publish engravings and descriptions of Specimens of Antient Sculpture (drawn largely from his own collection and that of Richard Payne Knight), which eventually appeared in 1809. In 1791 he was elected a trustee of the British Museum, where he influenced the design of the extension planned to house the museum's growing collection. It was not until 1984 that the British museum created a gallery dedicated to the Townley marbles. (3)

A marble sculpture, late 19th Century, carved as a boy stealing a puppy with its mother biting at his tunic, raised on a circular base.

Auguste Rodin 1840-1917 SUZON inscribed Rodin marble height including base: 32cm.; 12.5in. height excluding base: 24cm.; 9.5in. Literature Albert E. Elsen Rodin London 1974 p. 206 described John L. Tancock Rodin en Mexico: Colecci—n de escultura europea de los siglos XIX y XX Mexico 1997 p. 172 no. 13 listed Robert Descharnes and Jean-Francois Chabrun Auguste Rodin Paris 1967p. 46 illustration of the bronze edition Ionel Jianou and Cecile Goldscher Rodin Paris 1967 p. 85 the bronze described John L. Tancock The Sculpture of Auguste Rodin Philadelphia 1976 p. 582 no. 106-2 illustration of the bronze Cecile Goldscheider Auguste Rodin: Catalogue Raisonne de l'oeuvre sculpte Paris 1989 vol. I p.84 no. 64 illustration of another marble version

AFTER THE ANTIQUE: A bronze sculpture of a bull, on a marble base, 6" high.

A rare Victorian silver card case, die stamped with the reclining figures of Ino and the infant Bacchus framed by grapevines and scrolls on a matted ground, 10cm h, by Nathaniel Mills, Birmingham 1854 (see illustration) The marble sculpture of this title by John Henry Foley (1818-1874) caused a sensation when first exhibited at the Royal Academy in 1840. ++ In excellent condition

A Victorian design marble sculpture of a seated lady modelled reclining on cushion holding dress on plinth base 2ft 3ins

L S MERRIFIELD, A cast bronze and patinated sculpture of a horse pulling a plough with a workman to one side, with cast signature and dated 1924, on green marble base, 18" wide. .

A brass sculpture of a cock raised on a red marble base.

A BRONZE SCULPTURE OF BARTOLOMEO COLLEONI after the original by ANDREA DEL VERROCHIO standing on a veined marble plinth, 21 1/4" high.

A 20th century bronze sculpture of anthropomorphic form indistinctly signed and numbered 8-25 upon a marble base 21cm high 15cm wide

AN ABSTRACT GILDED METAL SCULPTURE NUDE WOMAN. On a marble base. 7.5 ins high overall

‘Carmen Castanets’. After Salvador Dali (1904-1989). A polished bronze sculpture. Inscribed with a signature and numbered M2/25 A.P. 29cm high. On disc shape marble socle 34cm high overall. Another smaller also after Salvador Dali. ‘Angel of Victory’. Numbered 784 11cm high. On rectangular marble socle 15cm high overall, (2).

‘Wings of Trident’. After Salvador Dali (1904-1989). A green patinated bronze sculpture. Inscribed with a signature and numbered 13/49 A.P. 32cm high. On rectangular marble socle 36.5cm high overall.

An Italian, carved white marble sculpture, 20th century. Abstract form of a female figure, on square plinth base. 54cm high.

An Art Deco green patinated metal lion & lioness sculpture cast from a model by Delacueve on stepped rectangular base signed on the marble 62cm. wide.

Nureyev. A modernist bronze sculpture 3/4 bust size, 20th century. Signed Byron H.78. Ltd edition number 2/15. Mounted on black marble stepped base.

An Art Deco bronze sculpture of a boy with umbrella by Demetre Chiparus, circa 1930, on a white stepped marble base, 26cm. high

A patinated bronze sculpture of a woman on horseback, circa 1930, the woman with head in her hands, on a mottled marble base, 49cm. high by 36cm. wide

A Taylor Earnshaw Bronze Sculpture, of Madonna and child, on a marble base, 68 cm

A BRONZE SCULPTURE OF A RHINO, signed ‘JULIE MOIGMIEZ’ mounted on a marble stand.

A BRONZE SCULPTURE OF A LONG COATED LABRADOR mounted on a marble base.

A large quantity of plastic marble and other sculpture bases

E. Loi bronze sculpture of two galloping horses being ridden by jockeys, on a naturalistic rounded rectangular base and stepped marble stand, signed, 40cm

Green marble sculpture of a warrior, the figure in a 'fallen' pose with his sword at his side on an oval base section and separate stand, the oval plateau 14 1/2in (36.8cm) wide, cracked and repaired

A Sydney Harpley RA Bronze Sculpture, of a young lady playing water polo, on a marble plinth, signed, 82 cm

A patinated bronze sculpture of a fox stealing a pheasant, on black marble plinth 50cms