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A bronze figure of a child watching her mother knit. The sculpture is on a black marble base. Artist mark. Luigi Tommasi foundry stamp. The sculpture is approximately: 17.5"L x 7.75"W x 17.5"H. Artist: Harry MarinskyIssued: Mid 20th centuryDimensions: See DescriptionManufacturer: Luigi TommasiCountry of Origin: ItalyCondition: Age related wear.

An erotic bronze sculpture in a golden-brass tone of a nude woman pushing her hair back from her face. The figure is placed on a rotating black and white marble base. Artist, date and edition number marked. The dimensions are approximately: 7"W x 15.5"H. Weight: 18 lbs. Artist: C.A. PardellIssued: 1995Dimensions: See DescriptionEdition Number: 11 of 150Condition: Age related wear.

Bronze Medal from an original wax mold by Dali titled Our Historical Heritage Signed in the cast right numbered 14/400 Sight size sculpture 5� round black marble base 2.5� heightCondition: Age related wear.

An erotic bronze sculpture in a golden tone. Depicts a nude woman in high strappy heels bent forward combing her hair. The figure is placed on a rotating black and white marble base. Artist, date and edition number marked. The dimensions are approximately: 11.25"L x 8.5"W x 15.25"H. Weight: 24 lbs. Artist: C.A. PardellIssued: 1988Dimensions: See DescriptionEdition Number: 16 of 36Condition: Age related wear.

ITEM: Statuette of a seated womanMATERIAL: PotteryCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 135 mm x 35 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.During the Greek Hellenistic period, which spanned from the death of Alexander the Great in 323 B.C. to the establishment of the Roman Empire in 31 B.C., the art of sculpture underwent significant developments, marked by a departure from the idealized forms of the Classical era towards greater naturalism and emotional expression. Among the notable sculptures from this period is the Statue of a Seated Woman, also known as the "Pergamon Woman," dated to the 3rd century B.C. This sculpture exemplifies the Hellenistic style's emphasis on capturing realism and individuality, as well as the portrayal of complex emotions.The Statue of a Seated Woman is a marble sculpture depicting a woman seated in a relaxed posture, her body gently leaning to one side with her legs crossed elegantly. Her facial features are rendered with remarkable detail, conveying a sense of introspection and emotion. The woman's hairstyle, drapery, and jewelry are intricately carved, adding to the lifelike quality of the sculpture. The absence of idealized proportions and the focus on naturalistic details distinguish this work as characteristic of the Hellenistic period.This statue is believed to represent a goddess, nymph, or possibly a mortal woman depicted in a divine or heroic context. The sculpture's serene expression and contemplative pose suggest a moment of quiet introspection or divine communion.

ITEM: Statuette of an enthroned womanMATERIAL: PotteryCULTURE: Greek, Hellenistic periodPERIOD: 3rd - 1st Century B.CDIMENSIONS: 144 mm x 52 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Sussex, mid-20th century private collectionComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.During the Greek Hellenistic period, which spanned from the death of Alexander the Great in 323 B.C. to the establishment of the Roman Empire in 31 B.C., the art of sculpture underwent significant developments, marked by a departure from the idealized forms of the Classical era towards greater naturalism and emotional expression. Among the notable sculptures from this period is the Statue of a Seated Woman, also known as the "Pergamon Woman," dated to the 3rd century B.C. This sculpture exemplifies the Hellenistic style's emphasis on capturing realism and individuality, as well as the portrayal of complex emotions.The Statue of a Seated Woman is a marble sculpture depicting a woman seated in a relaxed posture, her body gently leaning to one side with her legs crossed elegantly. Her facial features are rendered with remarkable detail, conveying a sense of introspection and emotion. The woman's hairstyle, drapery, and jewelry are intricately carved, adding to the lifelike quality of the sculpture. The absence of idealized proportions and the focus on naturalistic details distinguish this work as characteristic of the Hellenistic period.This statue is believed to represent a goddess, nymph, or possibly a mortal woman depicted in a divine or heroic context. The sculpture's serene expression and contemplative pose suggest a moment of quiet introspection or divine communion.

J.B Deposee, Garanti Paris bronze figure of a male nude sculpture statue, signed Christian on base, with marble base, H x 59cm

G. Minne signed sculpture in bronze - on a marble baseMINNE G. sculptuur in brons : "Baigneuse" - hoogte : 35 cm - op witmarmeren sokkel getekend

Art Deco chryselephantine sculpture in bronze and bone on a marble base - signed ManinMANIN Art Deco-chryséléphantinesculptuur in brons en been : "Vogel" - hoogte : 15,5 cm - op marmeren sokkel getekend

PEETERS WILLY KAREL (° 1957)small 20th Cent. sculpture in bronze on a marble base by Willy Karel PeetersPEETERS WILLY KAREL (° 1957) kleine sculptuur in brons : "Man met rugzak" - hoogte : 18,3 cm - op marmeren basis

pair of Art Deco book-ends in marble each with an Antilope sculpture in black patinated metal (bronze ?)Paar Art Deco-boekensteunen in marmer telkens met een sculptuur in zwart gepatineerd metaal (brons ?) in de vorm van een antiloop - hoogte : 14,5 cm - ca 1930

PEETERS WILLY KAREL (° 1957)21st Cent. sculpture in bronze on a marble base - with the monogram of Willy Karel PeetersPEETERS WILLY KAREL (° 1957) kleine sculptuur in brons n° Epreuve d'Artiste 2 : "Danseres" - - hoogte : 17,8 cm - op marmeren sokkel gemonogrammeerd

antique 3pc garniture in marble and bronze with a pair of tazzas and a clock with a bronze sculpture and with a "Japy frêres" signed workAntieke schouwgarnituur in marmer en brons, bestaande uit een paar tazza's (18,5 cm hoog) & een klok (40 cm hoog) met een bronzen sculptuur met jongetje met lam en met werk getekend "Japy frêres"

AMERLAAN VAN NIEKERK CORRY (° 1947)20th Cent. sculpture in bronze on a marble base - attributed to Corry Amerlaan van NiekerkAMERLAAN VAN NIEKERK CORRY (° 1947) (NL) sculptuur in brons op sokkel in marmer : "Compositie met narrenhoofd" - 11,5 x 12,5 cm toegeschreven aan

Very large art deco bronze sculpture of a dancer on a marble base in the style of Demetre Chiparus, 21.5" tall.

An Art Deco style bronzed Dancing Girl sculpture, en pointe with arms raised, signed A Leonard in the maquette, stepped angular black marble base, 62.5cm

Czech School (20th century), a Modernist iron sculpture, Abstract Figure, marble base, 29cm high overallProvenance: Presentation plaque for Trinecke Zelezarny, Moravia Steel, Metallurgical Works

David Wynne (British, 1926-2014) Boy with a Dolphin Limited edition sterling silver sculpture hallmarked by Mappin & Webb, London, 1980, on marble base etched and gilt tooled MAPPIN & WEBB to one side, the other DAVID WYNNE 87/250, with Mappin & Webb Certificate, in fitted case, in good condition, only wear and tarnishing. Provenance: Purchased by vendor's father directly from Mappin & Webb, circa 1980/1 thence by descent The boy holding onto the dorsal fin was modelled on the artist's son Roland David Amadeus Wynne (1964-1999) who was 9 years old in 1973 when the original bronze was conceived.  This silver piece, one of 250, produced by Mappin & Webb after the original bronze.  The Boy with a Dolphin  was unveiled in 1975 at the corner of Chelsea's Albert Bridge and Embankment and went on to become one of London's most famous landmarks.  Without the restraints of formal training Wynne used a double cantilever structure incorporating the boy's arm and tail of the dolphin to unwittingly create a masterpiece of engineering and design.  Wynne's determination to convey the unbridled freedom of the boy and dolphin was achieved not through photographs but hours of observing live dolphins at the London Dolphinarium located at 65 Oxford Street open from 1971-1973 and when in the wild in California.  Of the piece he said: “the boy is being shown that if you trust the world, the thrills and great happiness are yours… if one meets a dolphin in the sea, he is the genial host, you the honoured guest.”

Bronze sculpture of the Keeper of the Swans, signed with monogram DCT 90, white marble base, height 38cm Good condition

† PETER THURSBY (1930-2011), cast aluminum abstract sculpture, initialed ‘PT’ within an oval, height 25cm, on associated white marble base (2)Condition Report: Chipping to the base. Light surface wear and scratches.

Antique bronze sculpture of a seated dog on a black marble base - 17cm x 9cm x 12cm high.

Museale Madonnen-Figurengruppe in Elfenbein, sog. „Trapani-Madonna“Höhe: 33,5 cm. Breite: 17 cm.Sockeltiefe: 6,5 cm. Schatullenhöhe: 35,5 cm.Trapani, Italien, Ende 18. Jahrhundert.Beigegeben CITES-Dokument, gültig für kommerzielle Zwecke in der EU.Der Gesamtaufbau dreistufig gestaltet, mit einem nach oben sich verjüngenden Sockel in Giallo-Rosso-Marmor. Darüber eine Wolkenbankzone, besetzt mit gravierten Perlmuttwölkchen mit geflügelten Engelsköpfen und zwei seitlichen, vollplastisch geschnitzten kleinen Engeln. Die darüber sich erhebende Madonnenstatue mit nochmaligem angeschnitzten achtseitigen Sockel mit Profilen. Die Madonna, nur leicht S-bogig bewegt, hält das Kind in der linken Armbeuge über hochgezogenem Mantel, der sich in feinen, teilweise kantig geschnitzten Falten zur Sitzfigur des Kindes hochzieht. Die Hände der Mutter und des Kindes berühren sich bei der Übergabe einer Frucht, die Rechte des Kindes an die Brust der Mutter gelegt. Die Mutter nimmt mit dem Kind Blickkontakt auf. Beide Figuren tragen je eine hohe, durchbrochen geschnitzte Krone mit eingeschnitzten Blüten.Die Figur geht auf das großformatige Marmor-Vorbild in der Wallfahrtskirche Santuario della Santisssima Annunziata in Trapani zurück, Nino Pisano (1349-1368) zugeschrieben. Von dem wunderbringenden Andachtsbild wurden vor allem im 17. Jahrhundert Wiederholungen geschaffen. Im Santuario wird die große Figur von zwei stehenden Leuchtern tragenden Engelsgestalten flankiert. Die geschnitzten, geflügelten Putten, Perlmuttwolken und der Sockel sind eigenständige Entwürfe des Barock der Trapani-Kunst. In tadelloser Erhaltung, mit zugehörigem, lederbezogenen Behältnis mit Aufklappvorrichtung und Verschlusshaken. A.R. (14100825) (11)Carved ivory statuette of the Virgin and Child of museum-quality, so called “Trapani Madonna”Height: 33.5 cm.Width: 17 cm.Depth of base: 6.5 cm.Height of box: 35.5 cm.Trapani, Italy, end of the 18th century.Accompanied by CITES document, valid for commercial purposes within the EU.Three-part design with a tapered base in Giallo Rosso marble. The design is a copy after the large-format marble sculpture attributed to Nino Pisano (1349-1368) and held at the Basilica-Sanctuary of Maria Santissima Annunziata, a pilgrimage church in Trapani. The miracle-performing original Madonna of Trapani was especially copied during the 17th century. The Madonna in the Sanctuary is flanked by two standing angels holding candelabras. In the statuette on offer for sale here the winged putti, tortoiseshell clouds and the base are original Baroque designs in the artistic style of Trapani. In excellent condition with matching, leather-lined hinged box with hook closure.CITES export restrictions.

Matteo Civitali, 1436 Lucca – 1501 ebenda., zug.MARIA MIT DEM KINDECartapesta.Skulptur: 82,5 x 58 x 25 cm.Auf mit rotem Samt bezogener Präsentationsplatte.In einer offenen Dreieckskomposition sehen wir Maria deren Haupt in einem raumgreifendem Scheibennimbus kulminiert mit ihren Armen zärtlich das Christuskind umgreifend und dieses anblickend, während dessen Aufmerksamkeit dem Betrachter gilt. Matteo Civitali ist der bedeutendste Bildhauer aus Lucca in der zweiten Hälfte des 15. Jahrhunderts. Vasari verzeichnet ihn als Schüler des Sienesers Jacopo della Quercia, was jedoch unwahrscheinlich ist; es ist wahrscheinlicher, dass er bei Antonio Rossellino ausgebildet wurde. Sein erstes dokumentiertes Werk ist das Grabmal von Pietro da Noceto (gest. 1467), das auch den Einfluss von Mino da Fiesole zeigt. Nach 1470 erhielt Civitali eine Reihe bedeutender Aufträge im Dom von Lucca vom Humanisten und päpstlichen Delegaten Domenico Bertini, darunter den Altar des Sakraments - auch hiervon werden teilweise Güsse in London aufbewahrt. Seine Werke dort bilden eines der vollständigsten und kohärentesten Skulpturenprogramme des 15. Jahrhunderts in der Toskana. Sein wichtigstes Werk außerhalb von Lucca ist die außergewöhnliche Johannes-der-Täufer-Kapelle im Dom von Genua mit sechs äußerst expressiven lebensgroßen Marmorfiguren. Vergleichsbeispiele zu unserer Madonna sind etwa in der Sammlung des Vrijthof in Maastricht, in der Sammlung des Victoria & Albert Museum in London und auch in der Chiesa della SS. Trinita in Lucca zu finden (letztere in Marmor, 86 x 77 cm). Eine weitere Marmormadonna seiner Hand wird verwahrt im Museo Nazionale di Villa Guinigi in Lucca (Inventarnummer 193). Civitale lernte in Florenz, verbrachte jedoch die meiste Zeit seines Werkschaffens in Lucca. Er war in Lucca einer der führenden Künstler als Maler, Bildhauer und Architekt.Literatur:Vgl. Dario Cimorelli, Matteo Civitali e il suo tempo. Pittori, scultori e orafi a Lucca nel tardo Quattrocento, 2004 (14114914) (1) (13)Matteo Civitali, 1436 Lucca – 1501 ibid., attributedTHE VIRGIN AND CHRIST CHILD Cartapesta.Sculpture: 82.5 x 58 x 25 cm.On a presentation plate covered with red velvet.Comparative examples of our Madonna can be found in the collection of the Vrijthof in Maastricht, in the collection of the Victoria & Albert Museum in London and in the Chiesa della Santissima Trinità in Lucca (the latter in marble, 86 x 77 cm). Another marble Madonna by his hand is held at the Museo Nazionale di Villa Guinigi in Lucca (inventory no. 193).Literature: cf. Dario Cimorelli, Matteo Civitali e il suo tempo. Pittori, scultori e orafi a Lucca nel tardo Quattrocento, 2004.

Small patinated bronze sculpture, 19th century depicting Perseus with the head of Medusa, from the original sculpture by Benvenuto Cellini in the Loggia dei Lanzi in Florence; marble base, total height cm. 17

Patinated bronze sculpture depicting the Discobolus, 19th century circular base in green Alpine marble, total height cm. 42

Headless sculpture in white marble depicting a vestal with a draped dress, cm. 118x40x30 circa

White marble sculpture with applications of polychrome marbles and semi-precious stones depicting the Allegory of Europe; base in red Verona marble, cm. 87x60

Antique patinated bronze sculpture depicting a draped female character wearing a curious pointed headdress; base in polychrome marble with square section, bronze: h. cm. 21; in total h. cm. 36 (small restoration on the base; right hand defect, the ankles restored)

Antique white marble sculpture depicting the head of a little girl with styled hair, h. cm. 22

L'Inspiration, sculpture in patinated antimony after Leon Pilet circular base in red marble, total height cm. 96

White marble sculpture with applications of polychrome marbles and semi-precious stones depicting the Allegory of Asia; signed Mimmo da Stilo, cm. 87x60 (defects)

Patinated bronze sculpture of Marcus Aurelius on horseback, Rome, 19th century parallelepiped base in black marble, total size cm. 43x33x17

White marble sculpture depicting a vestal with a draped dress leaning against a column, cm. 145x45x30

White marble sculpture depicting Psyche, Florence, 19th century h. cm. (restoration on the left wrist and the handle of the jug)

Patinated bronze sculpture depicting Narcissus, 19th century square marble base, total height cm. 62

λ &nbspDANIEL SILVER (BRITISH B. 1972) UNTITLED 2009 Marble and painted wood Height 155cm (61in.)Provenance: Galleria Suzy Shammah, Milan Acquired from the above in 2009Working chiefly in sculpture, Daniel Silver filters his classical and modernist influences through a unique formal language. He is represented by Frith Street Gallery; his work has been exhibited at Saatchi Gallery, Whitechapel Gallery, and the State Hermitage Museum. At points, Silver's figurative sculptures recall the elegant busts of antiquity. Elsewhere, their urgent textures recall the immediacy of such artists as Jacob Epstein and Henri Gaudier-Brzeska. Silver's investigations into the psychology of representing the human body, especially the head, are often marked by a fragmentary quality. The present work resists the identification of its subject, betraying only as much as it conceals. It reflects a perennial concern of Silver's - the Freudian unconscious - in suggesting the limitations of portraiture. In its rough-hewn state, the sculpture recalls such precedents as Michelangelo's Atlas Slave: it asks the viewer whether the artist truly controls his medium, or as Leibniz argues, merely realises the marble's innate potential. Condition Report: Light surface dirt throughout including a small area of white marks to the lower section of the trunk base. May benefit from a light clean. Some evidence of scratches and abrasions to the base. The reverse of the trunk plinth has evidence of cracking with some associated paint loss. Otherwise appears to be in original condition. Condition Report Disclaimer

λ&nbspDANIEL SILVER (BRITISH B. 1972) UNTITLED, 2009 Marble, concrete and painted wood Height 175cm (68¾in.)Provenance: Galleria Suzy Shammah, Milan Acquired from the above in 2009 Working chiefly in sculpture, Daniel Silver filters his classical and modernist influences through a unique formal language. He is represented by Frith Street Gallery; his work has been exhibited at Saatchi Gallery, Whitechapel Gallery, and the State Hermitage Museum. At points, Silver's figurative sculptures recall the elegant busts of antiquity. Elsewhere, their urgent textures recall the immediacy of such artists as Jacob Epstein and Henri Gaudier-Brzeska. Silver's investigations into the psychology of representing the human body, especially the head, are often marked by a fragmentary quality. The present work resists the identification of its subject, betraying only as much as it conceals. It reflects a perennial concern of Silver's - the Freudian unconscious - in suggesting the limitations of portraiture. In its rough-hewn state, the sculpture recalls such precedents as Michelangelo's Atlas Slave: it asks the viewer whether the artist truly controls his medium or, as Leibniz argues, merely realises the marble's innate potential.

Kare design modern deco sculpture of an athlete figure in white resin on black marble base, approx 55cm tall x 72cm wide

Modern resin art red sculpture of figurine on a marble base, approx 51cm tall

Parastone resin sculpture of Leonard Da Vinci The Vitruvian man on a marble base, approx 49cm tall x 40cm wide (damage to fingers)

Modern deco sculpture of black and white embracing figurines on a marble base,approx 53cm tall x 35cm wide 

Modern red resin abstract art sculpture on a marble base, approx 71cm tall 

Armillary metal sphere sculpture on a marble base (approx 52cm tall to top of globe)

Kare design modern deco sculpture of an athlete figure in red on black marble base, approx 55cm tall x 72cm wide

Modern white resin abstract art sculpture on black marble base, approx 64cm tall

Casablanca Deco Art polystone sculpture of an athlete figure in blue on a marble base, approx 71cm tall x 25cm wide

Pasquin, Anthony. An Authentic History of the Professors of Painting, Sculpture, & Architecture, who have Practised in Ireland. 8vo London 1795?. First Edn., hf. title, engd. port. frontis m/ss index added; Bound with, Memoirs of Royal Academicians, London 1796. First Edn., hf. title, engraved vignette title; and Legislative Biography; or an attempt to ascertain the merits and principles of the most admired orators of the British Senate, by Pasquin. Ex-libris. Manuscript index at front. Half calf, marble boards, gilt titles and decoration to spine.

HEPWORTH BARBARA: (1903-1975) English sculptor. A significant correspondence and archive of photographs relating to Hepworth´s sculpture Cosdon Head (1949) comprising four A.Ls.S., Barbara, ten pages (total), 4to and one written to both sides of a correspondence card, Trewyn Studio, St. Ives, Cornwall, 12th July - 3rd October 1950, all to James Archdale. Hepworth writes in detail regarding her sculpture, and some possible damage caused in transit, as well as her personal life and impending divorce from painter Ben Nicholson -(i) A.L.S., Barbara, one page, 4to, St. Ives, Cornwall, 12th July 1950, to James [Archdale], thanking him for going to so much trouble with the Cosdon Head and informing him that ´The weight is about 2 3/4 cwt. perhaps only 2 1/4 - it rests on a slight wood base which has a turntable set under it & moves quite easily. This enables it to be moved in the light. Both here, & at the Biennale it looked well on a strongly made wood plinth with a dull finish of a warm pale grey colour´.(ii) A lengthy A.L.S., Barbara, five pages (separate leaves), 4to, St. Ives, Cornwall, 13th August (1950), to James Archdale (´Dear Jim´). Hepworth apologises for the delay in writing to Archdale, explaining that his letter had arrived ´just at the moment when I was in a state of collapse´ and adding ´my personal difficulties reached a peak as Ben arrived in St. Ives with Mrs. Littler [Rhoda Littler, an artist, and Nicholson´s lover at the time] & is living with her here. In a small town like this it produced so many problems quite apart from the horrid divorce proceedings which I have had to set going, the difficult situation for the children & the fact that Ben´s & my life has been so interwoven professionally for 20 years that one hardly knows how to cope with it´, further writing of how ´desperately upset´ she feels that some damage may have occurred to the Cosdon Head, remarking ´If you remember the back of the head was a solid block of calcite crystals - I worked the matrix down to a level surface but it was a scarred & discoloured surface. If the surfaces have become broken or chipped in any way it can only be inadequate packing on the part of the packers in London (if as you say your unpackers are blameless) & as it was completely in order when my assistant went up to the Tate Gallery to inspect it on its return from the Venice Biennale. He cleaned it & reported to me that it was in a perfect state......The point that worries me considerably is why was I not informed by the Art Gallery the moment it arrived & was found damaged. I am deeply grieved that a work which can go to Venice & back in safety should be hurt between London & Birmingham & of course no insurance in the world compensates the artist.....I would suggest dealing with it in this way. 1) Report to the Insurance people. 2) Establish the damage by comparison with the set of photos I sent you. 3) Have it very carefully packed & sent by Goods here to me so that I can assess the cost of the damage & repairs if repair is possible. Forgive me for saying this - but I´m not convinced that your unpackers are blameless. I fear they may have tried to lift it by brute strength (which is impossible as it is slippery) & that it may have fallen. The British Council packed it several times - always lifting it in a net´.(iii) A.L.S., Barbara, to both sides of a printed correspondence card, St. Ives, Cornwall, 16th August (1950), to James Archdale (´Dear Jim´), apologising for both having sent him such a dreary letter and for the trouble he has been put to with the Cosdon Head, remarking ´It was such a terrific labour working that stone (& one of my best works) I could not bear to think of the damage. Perhaps it is not so serious?´.(iv) A.L.S., Barbara, two pages, 4to, St. Ives, Cornwall, 3rd October (1950), to James Archdale (´Dear Jim´). Hepworth states that the photographs of the Cosdon Head have just arrived and that she can not detct any damage at all, explaining ´The white mark on the nose is calcite crystal & was always there....& the back of the Head was full of calcite crystals or their pockets. This is a metamorphic stone & the back was the matrix. The fine white lines are innate in the rock. This stone took 9 1/2 solid weeks carving - it is worse than flint to carve. If you object to the white marks I would suggest that they are tinted a neutral colour to tone it down, but on no account should the one on the nose be touched as it is part of the form & expression. It would be disastrous to alter it. The sculpture was just like this when you saw it at Carbis Bay & Lefevre´.Together with five different vintage signed 6.5 x 8 studio photographs by Hepworth, each of the images depicting the Cosdon Head from various angles, four of them signed (´Barbara Hepworth´) in ink to the versos, further adding the title and date of the sculpture in her hand, as well as identifying the stone (´Armenian blue marble´), and the fifth signed to the verso in pencil by Hepworth with her initials, and also adding St Ives in her hand beneath. Also including a second example of one of the photographs with a printed caption to the verso relating to its entry in the Venice Biennale of 1950.Further including a T.L.S. on behalf of Dr. Mary Woodall, Keeper of the City Museum and Art Gallery in Birmingham, one page, 4to, Birmingham, 11th October 1951, to James Archdale, on the printed stationery of the Department of Art. Woodall informs her correspondent that she has sent him all of the photographs they had of the Cosdon Head, declaring ´It is a most confusing affair altogether´ and further remarking ´Personally, I have a feeling that our photographs are much better quality than Barbara Hepworth´s and therefore show the defects in more detail´. Accompanied by the photographs referred to, being four original 6 x 8 studio photographs showing the Cosdon Head from different angles, each with the copyright stamp of the City of Birmingham to the versos.An excellent archive of letters and photographs relating to one of Hepworth´s works (which the scupltor herslf describes as one of her best pieces). VG, 15The Cosdon Head was one of the first works created by Hepworth at her Trewyn Studio and after being entered at the Venice Biennale it was gifted to the Birmingham Museums and Art Gallery by James Archdale in 1951. The Cosdon Head also formed part of an exhibition entitled Sculpture of the Twentieth Century which toured between the Philadelphia Museum of Art, the Art Institute of Chicago and the Museum of Modern Art in America between 1952-53.

QUINN MARC: (1964- ) British painter and sculptor, a notable member of the Young British Artists. Signed colour 10 x 8 photograph, the image depicting Quinn´s Carrara marble sculpture Alison Lapper Pregnant (2005) on view on the Fourth Plinth in London´s Trafalgar Square. Signed by Quinn in blue ink with his name alone to a light area of the image. EX

BARYE ANTOINE-LOUIS: (1795-1875) French Sculptor of the Romantic period, most famous for his work as an Animalier, a sculptor of animals. Widely considered together with Rodin and Carpeaux as the three great French sculptors of the XIXth century. Although fame did not come until late in life, examples of his larger work include various lions and tigers in the gardens of the Tuileries and the Lion Assis ("Setaed Lion") exhibited at the Louvre museum in Paris. A rare autograph letter with excellent content, A.L.S., `Barye´, one page, 4to, Paris, 20th May 1858, to Mr. Séchan, in French. Barye in a clean writing accepts an order request that he received four months earlier for a sculpture which he values and describes in full detail, stating `J´accepte la commande que vous me faites à la date du 29 Janvier 1858, consistant en une: pendule se portant sur une cheminée, cette pendule représentera Apollon sur un char attelé de quatre chevaux, modèle de cette pendule et son épreuve unique; Mme Pérère restant propriétaire. Compris marbre et dorure, moins le mouvement. Prix convenu à forfait - 14000 Fr. Plus: Candélabres se plaçant de chaque côté de la pendule, pour le modèle et les deux épreuves uniques, Mme Pérère restant également propriétaire du modèle, compris marbre et dorure. Prix convenu à forfait - 6000 Fr. Il est Bien entendu qu´il ne restera des modèles que les fragments des plâtres plus ou moins endommagés qui auront servi à la fonte des épreuves uniques.´ (Translation: "I accept the order that you made to me on January 29th, 1858, consisting of a: clock which will represent Apollo on a chariot drawn by four horses, model of this clock and its unique proof; Mrs. Pérère remaining the owner. Including marble and gilding, less the machinery. Agreed fixed price - 14,000 Fr. Plus: Candelabra to be placed on each side of the clock, for the model and the two unique proofs, Mrs. Pérère also remaining the owner of the model, including marble and gilding. Agreed fixed price - 6,000 Fr. It is understood that only the fragments of the more or less damaged plasters that will have been used to cast the unique proofs will remain.") With address leaf, postmarked and stamped. Very small minor creasing, otherwise VGThe sculpture detailed and valued by Barye in the present letter is a bronze with a height of 80cm, it is considered one of the summits of the artist's work.The critic Paul Manz described the present work this way `Apollon, conduisant son char, se présente de face; des deux côtés s´avancent les Heures, figures légères qui tiennent la bride des cheveaux. Les types sont empruntés à ce que l´antiquité nous a laissé de plus pur et de plus charmant; les cheveaux d´Apollon sont admirables dans leur allure savamment rythmée... Nous ne connaissons, parmi les productions de l´art industriel moderne, aucun oeuvre qui puisse lui être comparée, et Versailles, au temps de ses splendeurs, n´a rien eu de plus beau dans son mobilier royal´ (Translation: "Apollo, driving his chariot, is presented front face; on both sides advanced the Hours, light figures holding the bridle of the horses. The types are borrowed from what antiquity has left us of the purest and most charming; Apollo's horses are admirable in their skillfully rhythmic allure... We do not know, among the productions of modern industrial art, any work that can be compared to it, and Versailles, at the time of its splendors, had nothing more beautiful in its royal furniture")We learn with this letter that the original model was the property of "Madame Pérère", who was the wife of the banker Isaac Pérère, who placed the order with Barye for his hotel in the Faubourg Saint-Honoré.The work is at today´s date exhibited at the Musée d´Orsay in Paris.

A patented bronze sculpture of a recumbent lion Signed 'Barrie', raised on a rectangular marble base.44cm wide x 20cm deep x 27cm high.Qty: 1In generally good condition. Some rubbing to the extremities, notable around the mane and on the edges of the base. Some light surface dirt throughout.

A wooden sculpture on marble base; and a wooden duck

‘Amour et son arc’ (Love and his bow) Sculpture in white biscuit and gilt bronze mounting on marble gilt column decorated with goat heads, patinated bronze base, 18th century. Left arm and bird broken, a few small chips. - Weight: 6.98 kg - Shipping unavailable - Region: France - Sizes: H 440MM X L 150MM

Japan - Snake, bronze sculpture on polychrome marble base, 19th century. Two slight chips in the marble - Weight: 1.11 kg - Shipping available - Region: Japon - Sizes: H 60MM X L 155MM SUR SOCLE / H 40MM X L 115MM - At first glance: normal wear / patina of use

Adalberto CENCETTI (1847-1907) ‘Bust of a woman’ Carrara marble sculpture on a grey marble base, 19th century, signed on the back. A few small chips at the base of the pedestal. - Weight: 35.00 kg - Shipping unavailable - Region: Italie - Sizes: H 590MM X L 430MM

Georges Marie Valentin BAREAU (1866-1931) ‘Allegorie de l'histoire’ (Allegory of history) Sculpture in bronze with shaded brown patina and gold on marble base. Signed on the terrace, signature, founder's stamp F. Barbedienne and reduction stamp. Barbedienne and mechanical reduction stamp A. Collas. Normal wear - Weight: 33.35 kg - Shipping unavailable - Region: France - Sizes: H 830MM X L 580MM SUR SOCLE / H 600MM X L 580MM

Salvador DALI (1904 - 1989) "L'ange de la victoire" Sculpture in bronze with golden patina on black marble base, 1974, signed Dali. Print number 767. at first glance : no defects - Weight: 880 g - Shipping available - Region: Spain - Sizes: H 155MM X L 90MM SUR SOCLE / H 115MM X L 70MM - At first glance: normal wear / patina of use

Jean DE RONCOURT (19th-20th century) ‘The Archer’ Large Art Deco sculpture in green patina regula on black marble base, circa 1930. at first glance: no defects - Weight: 13.80 kg - Shipping unavailable - Region: France - Sizes: H 960MM X L 470MM SUR SOCLE / H 920MM X L 470MM

Raymond GAYRARD (1777-1858) ‘Sleeping Cupid’ 19th century white marble sculpture. Normal wear - Weight: 38.00 kg - Shipping unavailable - Region: France - Sizes: H 260MM X L 590MM

Affortunato GORI (1895 - 1925) "Oriental Dancer" A chryselephantine sculpture in bronze with shaded golden patina, ivory belly, feet, arms and face. Stepped green marble base. Signed "A. Gori" on the lower part of the dress. Bibliography: Pierre Kjellberg "les bronzes du XIXe siecle", le dictionnaire des sculpteurs. le dictionnaire des sculpteurs edition de l'amateur, Paris, 1996. CITES certificate no.: 2024/BE02458/CE Restoration to the little finger on the left hand. - Weight: 4.90 kg - Shipping unavailable - Sizes: H 455MM X L 200MM SUR SOCLES / H 400MM X L 200MM - At first glance: normal wear / patina of use