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THE BRONZE AGE OF DC COMICS 1970-1984,by Paul Levitz, pub. Taschen, along with The Golden Age of DC Comics - 365 Days by Les Daniels, Chip Kidd and Geoff Spear (2)

Sally Anderson (British), bronze sculpture, 'female form', 1968, height 14cm. Condition Report: Generally good condition overall, with some general wear and surface scratches consistent with age (when not part of the original making process).

Japanese Tanto, 26cm cutting edge, 3mm curvature, the Nakago with Kiri Yasurime, Mei reading Hisa Tsuga, fitted with iron Tsuba inlaid with a gilded bronze bird flying from branches, in lacquered Saya lacking a Kozuka.Buyer must be over the age of 18. Age verification ID will be required if this lot is to be posted out.47cm long

JOSEF LORENZL ART DECO COLD PAINTED BRONZE AND IVORY FIGURE OF A DANCER,the painting signed 'CROJO', signed to base, on an oval onyx socle, 27.2cm highCondition good to fair. Joints between hands and head look like they have possibly been restored or will require some attention, also with dirt and discolour. Light wear throughout as per age. Additional images now available. Height 27.2cm 

A Saljuk Bronze dish with engraved decoration,18cm diam., 3cm highOne small piece of the rim missing but generally in good condition for its age.

A COLLECTION OF APPROX 130 MARVEL AND DC COMICS, EARLY 70'S (BRONZE AGE), BATMAN, SUPERMAN, SHAZAM, THOR, MAN-THING, SOME GOLD KEY COMICS AND TARZAN. A FEW WITH NO COVERS

Kolzoff, a gilt bronze figure of Diana,c.1900, signed in the bronze 'Kolzoff',Cast from a model as the partially draped, statuesque figure of Diana, with a quiver of arrows on her hip and holding a bow in one hand, integral bronze base,32.5 cm highA few old marks and spotting, some light natural wear in keeping with age. The bow is made to be loose in her hand and it moves/position can be adjusted but not removed.

Louis-Albert Carvin (French 1875-1951), a patinated and cold-painted bronze model of a Borzois, c.1930, engraved L. Carvin on the base,Naturalistically modelled and cast as the elegant hunting hound, mounted on a black slate base,34 cm high, base 61.5 cm longLight natural wear and with some old marks to colour in keeping with age. Some rubbing to high points. A few minor nicks and chips to edges of base

A patinated bronze bust of a woman, possibly Italian,c.1920, indistinct signature to the bronze and impressed foundry seal,Cast from a model and depicting a young woman with her hair blown off her face, raised on a black slate base, 29.5 cm highThe signature is hard to read, but maybe something like 'l. Giovanni'. Some light natural wear, with a few old marks and rubbing to high points - all in keeping with age. A few small chips to the slate base.

A mounted bronze panel,Inscribed 'L.P' and dated ‘76',The rectangular bronze panel modelled in relief, decorated with rows of abstract facial features and set within a hardwood mount,Bronze: 24cm x 20cm, frame: 29cm x 40.5cmbronze panel with even patination throughout and general light surface wear. The mount with surface wear to include scratches, scuffs, age related splits, old saw marks.

Antique Chinese bronze vase of archaic form, 23cm highCondition report: In good condition with general surface wear commensurate with age and use. From a local private collection.

Antique Chinese bronze figure of a horse and rider, character marks below the seated figure, total height 34cmCondition report: Appears in good order with general surface wear commensurate with age. Some remains of paintwork visible. Total height 34cm. Height of horse 26cm. Height of rider 23cm.

A GILT-BRONZE BUST OF ADMIRAL LORD HOWE, 19TH CENTURYmodelled half-length in dress uniform with decoration, mounted by a socle to base with black-filled name and secured to pedestal base -- 10in. (25cm.) highGood overall condition, a little wear commensurate with age.

A GROUP OF ANTIQUITIES AND COINS, the ceramic items comprise a painted amphora from the Middle Cypriot Bronze Age, circa 1800-1650 B.C., height 14.5cm, a.f., a red slip amphora of a similar date, height 9cm, s.d., a base ring juglet dating from the Middle Cypriot Bronze Age , circa 1450-1225 B.C., a polished stone mace or sceptre head of a similar date, together with a box of assorted coins , mostly Royal commemorative crowns, a Byzantine bronze follis, circa A.D. 610-641 and a Roman bronze coin, circa A.D. 330-335, together with photographic negatives of the ceramics and a letter from Birmingham City Museum dated August 1984 relating to the antiquities in this lot (7) (Condition report: amphoras are both damaged)

A SALVATORE FERRAGAMO VINTAGE METALLIC GOLD 'FLOWER' CLUTCH A gold clutch with detachable chain shoulder strap, decorated with a bronze sequins and beaded flower SALVATORE FERRAGAMO 19cm long x 13cm high x 7cm deep Condition: FAIR - Condition is commensurate with age and use. Some imperfections exist. Check catalogue notes. Viewing is recommended

A PAIR OF BEGUM KHAN 'EVIL EYE' CUFFLINKS Rhodium plated bronze with synthetic sapphires In original box 1.8cm diameter Condition: Minor signs of wear commensurate with age and use

BronzeThailand , Late Ayutthaya Period , 18th centuryDimensions: Height 23 cm without baseWeight: 6512 gramsRound head of a Buddha attached to a plinth. The knob-like chin gives this head a distinctive and child-like look. The lips are small and smiling gently. The nose is big and the lines continue right to the eyebrows and big eyelids. The eyes are closed. The elongated ears reach even below the chin and tiny curls resembling little snails cover the head and ushnisha, which is topped off by an even circle.Provenance:1) 14th October 1988 at "Hong Kong Art and Craft Merchants Association" in Hong Kong ( certificate available )2) 17th November 2017 at "The Show Place Antiques" New York , USA25th August 2020 : TL tested , age confirmed by test laboratory Kotalla , Haigerloch Germany

1932 Velocette 348cc KTT MkIV Racing MotorcycleFrame no. TT4259Engine no. KTT426•One of approximately 148 MkIV KTTs made•Matching frame and engine•Present ownership since 2016By the early 1920s it had become apparent that Veloce needed a model more up-market than its Velocette two-stroke. Other manufacturers were fielding new overhead-valve and overhead-camshaft machines, and Veloce followed suit, the Percy Goodman-designed, overhead-cam Model K appearing in 1924. Of 348cc, the new engine employed a single overhead camshaft driven by a vertical shaft, and was unusual in having a very narrow crankcase, an arrangement determined by the existing transmission and frame design, but which made for a stiff crankshaft assembly. Entered in the 1925 Isle of Man TT, the model K did not fare well, all three entries retiring because of lubrication problems. Its engine redesigned to incorporate dry-sump oiling, the cammy Velo returned the following year to score a memorable victory, Alec Bennett romping home in the Junior race ten minutes ahead of the next rider! Second place in 1927 followed by another win for Bennett in '28 ensured a healthy demand for Velocette's overhead-cam roadsters and prompted the launch of the KTT. One of the most successful over-the-counter racers of all time, the KTT debuted at the 1928 Olympia Show where it was hailed as an 'exact replica' of Bennett's 1928 works bike, though in fact the production MkI KTT incorporated a number of improvements. The KTT would be regularly up-dated with improvements first tried on the works bikes, and the major change for the MkIV was the introduction of a four-speed gearbox with Willis positive-stop foot-change, together with a new cylinder head incorporating hairpin valve springs and a more-compact scavenge pump. Redesigning the latter enabled the spark plug - now a 14mm type - to be relocated for improved combustion. The cycle parts too had come in for revision, the frame's tank rails being lowered to accommodate a larger fuel tank and, later in 1932, a rear sub-frame being added beneath the engine and gearbox. Part way through production the MkIV benefited from another works experiment, the cylinder head material changing to bronze as a result of overheating experienced on Willis' blown racer 'Whiffling Clara' when the standard cast-iron 'head was used. Production of the MkIV ceased in October 1934 on the introduction of the MkV after around 148 machines had been made. According to Velocette authority Ivan Rhodes, 'KTT426' was invoiced on 8th July 1932 to Motorcycles Ltd London and sold to a Mr Cackman (or Lackman) of London E7 (letter non file). The current vendor purchased the KTT from Steve Griffith's Racing & Investment Motorcycles in June 2016 (receipt on file). A very valuable spare large-capacity fuel tank is included in the sale. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com

The ex-Cecil Sandford 1946 Velocette 248cc MOV Racing MotorcycleRegistration no. FNX 255Frame no. 3142Engine no. 6162•Unique British 250-class racer•Built by Arthur Taylor•Isle of Man TT competitor (1949)•Restored in 1999•Present ownership since 2010The machine offered here is one of the most successful of the many 'home brewed' British 250 specials that featured on the domestic racing scene in the 1940s and 1950s. A 1946 Velocette MOV, 'FNX 255' was owned and prepared by Shipston-on Stour Velocette agent, Arthur Taylor, competing at first in trials and scrambles events before being converted for road racing. Its rider was a young Cecil Sandford, Taylor's protégé and later his son-in-law, who would go on to become the 125cc World Champion for MV Agusta in 1952 and take the 1957 250 World title while riding for Mondial. He retired from racing when Mondial pulled out at the end of the '57 season and later took over the management of his father-in-law's motor business, A R Taylor Garages Ltd. After its conversion for road racing, the Taylor MOV was ridden in the Isle of Man Lightweight TT in 1949 by L R Higgins, who recounted the story in an article published in The Motor Cycle on 8th September 1949 (copy available). The little Velo had been prepared in Taylor's workshop by his chief mechanic, Ted Clark, under the supervision of Bob Burgess, formerly with Veloce Ltd. Remarkably, the cycle parts were left virtually standard apart from swapping the original girder fork for Dowty telescopics, most of the development work being concentrated on extracting more power from the pushrod engine. To this end the latter was equipped with a Wellworthy Alfin alloy cylinder barrel, an aluminium bronze head incorporating modified ports and valves, a Martlet high-compression piston and a larger-than-standard carburettor. After bench testing and fine tuning, the motor's maximum power had been raised to 20bhp on a 50/50 petrol/benzole mixture with 18-19 horsepower anticipated on 'Pool' petrol. 'This figure compared poorly with the power output of the Guzzis,' Higgins conceded, 'but was probably better than a great many of our British contemporaries.' Over on the Island the gear ratios were made closer, bottom gear being raised, and the little Velo set off on its first practice laps. On three successive mornings the MOV stopped with valve gear problems, leading to a rethink which saw the engine slightly de-tuned for the race in the interests of reliability. By the end of the week the Taylor Velocette had completed two non-stop trouble-free practice laps, although its top speed had been reduced from 92 to 85mph. In the race itself Higgins was enjoying a dice with the slightly faster New Imperial ridden by Reg Petty, only to slide off at Keppel Gate on the first lap. The Velo's Dowty forks were twisted in the crash making it impossible to continue. In his book, British 250cc Racing Motorcycles, Chris Pereira recounts that later developments included a post-war MAC alloy head modified to take hairpin valve springs, a megaphone exhaust system and an Amal TT carburettor. Despite its humble origins, the Taylor MOV was successfully transformed into a highly capable performer, especially on the shorter, tighter tracks. With Cecil Sandford riding it continued to win well into the 1950s, laying the foundations for his later success at international level. On occasions the MOV would get the better of pukka racing machines. Pereira quotes Sandford on a particular instance: 'I was due to ride one of the new Velocette works double overhead cam 250s at the Thruxton International meeting in August 1951. Arthur and I had taken the MOV with us just in case. It was a pretty awful wet day, which made me realise that the works bike, with its narrow power band, would prove tricky to ride in the prevailing conditions. I therefore made the decision to ride the MOV instead. This did not please team manager Bertie Goodman. My decision proved to be correct, and I won the race fairly easily on the MOV, with my team mates Bob Foster and Bill Lomas second and third on the works bikes.'The current vendor purchased the ex-Sandford MOV at Bonhams' Stafford sale in April 2010 (Lot 373). Restored in 1999 and presented in generally good condition, 'FNX 255' is offered with a comprehensive history file containing correspondence, photographs, press cuttings, and its original logbook listing A R Taylor Garages as the sole owner (inspection recommended). A rare opportunity to acquire a unique British racing '250' associated with one of this country's greatest World Champions. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com

1937 Rudge 499cc UlsterRegistration no. ATP 755Frame no. 61224Engine no. U3010 (see text)The full potential of Rudge's four-valves-per-cylinder design was slow to emerge, but in 1928 Graham Walker's works 500 became the first motorcycle to win a road race - the Ulster Grand Prix - at an average speed in excess of 80mph, a feat that led to the introduction of the legendary 'Ulster' sports model. Early engines deployed parallel valves in a pent-roof combustion chamber, but then a trio of 350s appeared at the 1930 Isle of Man TT with radially disposed valves. This new arrangement emphatically demonstrated its superiority when the Rudge team of Tyrell Smith, Ernie Nott and Graham Walker finished 1st, 2nd and 3rd in the Junior TT, while Wal Handley won the Senior event, bringing home the coveted Team Prize for Rudge. Not surprisingly, the Ulster became the machine to own. Several different valve arrangements were tried across a variety of 250cc, 350cc and 500cc four-valve models as the range developed throughout the next decade. Sadly, the marque did not re-emerge after WW2. Owned by the vendor's family since 1983, this 'bronze-head' Ulster has been on display in a private museum and has not run for at least 20 years (the attached tax disc expired in 1971). Re-commissioning or possibly more extensive restoration will be required before further use (the engine turns over). Accompanying documentation consists of an old-type V5C and a continuation RF60 logbook from 1959 (both listing a different engine number. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingLot to be sold without reserve.For further information on this lot please visit Bonhams.com

Property of a deceased's estate 1933 Sunbeam 493cc Model 95Registration no. JW 3681Frame no. FX144Engine no. 95L.495.1X.496 (see text)•Rare last-of-the line sporting Sunbeam•Potentially an experimental or prototype machine, possibly for competition use•The only machine recorded in the Sunbeam Register with an 'FX' frame number prefix.By the mid-1920s George Dance's development programme had moulded the overhead-valve Sunbeam into one of the most formidable racing motorcycles of the Vintage era, the 500cc TT Model 90 in particular being a match for anything in its class by the decade's end. Despite the wholesale failure of the works 350s in the 1928 Isle of Man Junior TT, Sunbeam at last came good in the Senior event, Charles Dodson winning an eventful race after crashing and remounting. Dodson triumphed again in the Senior in 1929, the year turning out to be an outstanding one for Sunbeam with wins at the French, German, Austrian and Italian Grands Prix. 1930 was Rudge's year at the Isle of Man, and with its Competitions Department's activities severely curtailed because of Depression-induced financial cutbacks, Sunbeam was never again in the hunt for TT honours.Introduced for 1933 after a try out at the previous year's Isle of Man TT races, the Model 95 was an improved Model 90. Most obvious external differences between it and its predecessor were the newcomer's larger fuel tank, positive-stop foot change, bigger brakes and a revised single-port bronze cylinder head with downdraft inlet port, while inside the engine the lubrication system was improved. Top speed was in the region of 95mph with 80mph attainable in third gear and 71mph in second. Three versions: 95; 95L (lights-equipped); and 95R (racing) were produced over only three seasons (1933-1935), though very few were sold in '33, and today this rare last-of-the line sporting Sunbeam is highly prized. This early Model 95 was first registered (in the Wolverhampton area) on 14th October 1933. It is one of only a tiny handful of Sunbeams to include an 'X' in the frame and engine numbers, this marking being thought to denote experimental or prototype machines, possibly for competition use. This Model 95 is the only machine recorded in the Sunbeam Register to have an 'FX' frame number prefix.It is not known when the vendor's late father acquired this rare Sunbeam 95, but it must have been prior to November 1983 when the accompanying old-style V5 document was issued. An older restoration, 'JW 6831' will require re-commissioning before returning to the road and thus is sold strictly as viewed, its mechanical condition being unknown. A rare model, beautiful to look at and reputedly superb to ride, this splendid Sunbeam 95 is sure to delight the fortunate next owner. Offered with an old-style V5C Registration Certificate (recording the engine number as 'EX272'). Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com

Property of a deceased's estate c.1936 Rudge 499cc UlsterRegistration no. CEL 727Frame no. 57086Engine no. U1412The full potential of Rudge's four-valves-per-cylinder design was slow to emerge, but in 1928 Graham Walker's works 500 became the first motorcycle to win a road race - the Ulster Grand Prix - at an average speed in excess of 80mph, a feat that led to the introduction of the legendary 'Ulster' sports model. Early engines deployed parallel valves in a pent-roof combustion chamber. Subsequently, Rudge produced a 'head for the 500 featuring parallel inlet valves and radial exhausts, and this arrangement debuted on the works bikes for 1931. The Ulster, though, together with the TT Replica 500, sported a fully radial 'head for 1932 only before reverting to the semi-radial arrangement, which was fully enclosed from 1937. Featuring the correct bronze cylinder head, this Ulster appears to be an older restoration in substantially original specification. It is not known when the machine was acquired or when it last ran; its mechanical condition likewise is not known (the odometer reading of 17 miles is assumed to be the distance covered since restoration). There are no documents with this Lot, which requires re-commissioning and is sold strictly as viewed. The registration 'CEL727' is recorded in the DVLA and HPI databases; nevertheless, prospective purchasers must satisfy themselves with regard to this motorcycle's registration status prior to bidding. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingLot to be sold without reserve.For further information on this lot please visit Bonhams.com

1937 Vincent-HRD 499cc Series-A MeteorRegistration no. 175 YUB (see text)Frame no. D1382 Rear Frame no. D1382Engine no. M591•Full matching numbers (upper and rear frames, engine, gearbox, oil pump•Present ownership since 2007•Restored since acquisition•Local 'Best in Show' winner•Bronze cylinder headA letter on file states this beautiful Vincent-HRD Meteor was dispatched to Conway Motors on 12th August 1937. The upper and rear frame, engine, gearbox and oil pump numbers match the Works Order Form. '175 YUB' was owned by Walter Crocker (now deceased) of St Albans for 40 years and in 1995 belonged to Peter Woodhead, also of St Albans. On 24th April 2007, the Meteor was sold as a restoration project to the current vendor in the UK. A bronze cylinder head in very good condition was included in the sale.The restoration took around four years with the assistance of various marque specialists. The initial intention was to rebuild the machine to Comet Special specification complete with Brooklands silencer and Amal TT carburettor. When it came to fit the engine, the carburettor's long inlet tract fouled the frame. The late, great Bob Stafford suggested the standard Comet specification was fine for a road bike. The engine and gearbox rebuilds were duly completed by Bob Dunn to Comet specification around 10 years ago, including a bespoke alloy cylinder muff and the aforementioned bronze cylinder head. The Brooklands silencer split after a few months, so a standard silencer was purchased from Bob Culver. Other noteworthy features include the following:•Correct Series-A Brampton forks•Rebuilt Miller magdyno•Conway's clutch •Period Miller horn button and stop light switch•Dunlop wheel rims (re-chromed)•Post-war Amal carburettor (pre-Monobloc)•Solid state regulator fitted behind toolbox •6v dry battery with charging harness fitted inside 'Oldham' battery case The Meteor was ridden to a local classic motorcycle show in 2012 where it won 'Best in Show' award. It has not been ridden during the Covid period but has been started occasionally after preliminary oil priming and fuel checks; the last time the engine ran was on 15th January 2022. The owner says it has been a privilege to bring this wonderful machine back to life but now feels the time has comes to pass it on to the next custodian. Supporting documents within the very well organised file include, but are not limited to, photographs taken before, during and after restoration; frame number rubbings; DVLA documents; expired tax discs; engine rebuild details with various receipts in excess of £9,000; VOC Dating Certificate issued March 2021; and a copy of the Works Order Form. A video of the engine running is available on request. The original registration 'EGY 986' has been applied for and it is hoped that a V5C document will have been issued by time of sale. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to biddingFor further information on this lot please visit Bonhams.com

KONVOLUT KLEINER ANTIQUITÄTEN Konvolut bestehend aus einer Drachenfigur aus Bronze, L: 16 cm. Einer Amorfigur aus Bronze, L: 19 cm. Einer knienden Priesterfigur aus feuervergoldeter Bronze, L: 14 cm. Einer kleinen Onyxschale in Form eines kleinen Tempels, H: 18 cm. Normale Alters-und Gebrauchsspuren.| CONVOLUTE OF SMALL ANTIQUESMixed lot consisting of a bronze dragon figure, l: 16 cm. A figure of a cupid in bronze, l: 19 cm. A kneeling priest figure of fire-gilt bronze, l: 14 cm. A small onyx bowl in the shape of a small temple, h: 18 cm. Normal signs of age and use.

Cachepot aus Bronze. JAPAN, Meiji-Periode (1868-1912), schauseitig in leicht erhöhtem Relief die Darstellung eines Kriegers zwischen Bäumen. Auf der Rückseite teils plastisch ausgearbeiteter Dekor eines Raubvogels der zwei kleinere Vögel jagd. Innen am Boden in feinem Relief befindet sich die Darstellung von Kranichen und einer Schildkröte zwischen - die verschiedene Jahreszeiten symbolisierenden - Bäumen. D: 38 cm, H: 33 cm. Unterseitig in der Mitte ist eine Münze aufgebracht. Altersspuren und Gebrauchsschäden, wie z.B. mehrere kleine Löcher in der Wandung und eine 4,5 cm lange Fehlstelle zwischen Boden und Wandung. | Bronze cachepot. JAPAN, Meiji period (1868-1912), on the front side in slightly raised relief the depiction of a warrior between trees. On the back partly sculpted decoration of a bird of prey chasing two smaller birds. Inside on the bottom in fine relief is the depiction of cranes and a turtle between - symbolizing the different seasons - trees. D: 38 cm, H: 33 cm. A coin is applied to the underside in the center. Signs of age and use damage, such as several small holes and a 4.5 cm long missing part.

Bodenvase aus Bronze. JAPAN, Meiji-Periode (1868-1912), balusterförmig mit auskragender Mündung. Verziert ist die Vase neben archaischen Ornamenten auch mit einem plastisch aufgelegten Drachen, der sich um den Vasenhals windet. Um den unteren Vasenkörper reihen sich ebenfalls teils platisch ausgearbeitet fliegende Kraniche unter eingravierten Wolken. Den runden Vasenfuß schmücken im Relief ausgearbeitete Schildkröten zwischen eingravierten Wellen, H: 60 cm. Alterspatina und Gebrauchsspuren, besch.| Bronze floor vase. JAPAN, Meiji period (1868-1912), baluster-shaped. The vase is decorated with archaic ornaments and also with a plastically applied dragon, which winds around the neck of the vase. The lower body of the vase is also decorated with partly plastically applied flying cranes under engraved clouds. The round base of the vase is decorated with turtles in relief between engraved waves, h: 60 cm. Age patina and traces of use, dam.

JUGENDSTIL wohl WIENER BRONZE kleine Aktfigur als Petschaft, 1. H. 20. Jh. auf quadratischer Plinthe kniender Akt einer jungen Frau mit hochgestecktem Haar, bodenseitiges Monogramm "AD"?, wohl als Siegel gedacht, H 6 cm, Altersspuren.| ART NOUVEAU prob. VIENNA BRONZE small nude as a signe, 1st half of the 20th century, a young woman kneeling on a square plinth with her hair pinned up, monogram "AD"? on the bottom, probably intended as a seal, H 6 cm, signs of age.

Wilhelm Riedisser, 1870 wohl Gebrazhofen - 1913 München, ab 1889 Studium an der Kgl. Kunstakademie München, Reisestipendium u. folgende Aufenthalte in Italien, Umkreis der späten Deutsch-Römer um von Marees u. von Hildebrand, schuf Skulpturen mit ernsthaft -zeitloser Bildsprache angelehnt an die klassische Antike, neusachliche Tendenz, hier:sitzender Männerakt, Verzicht auf störendes Beiwerk u. Überschneidungen, Bronze patiniert,auf der Plinthe monogrammiert, Marmorsockel, Alterssp., H. 17 cmWilhelm Riedisser, 1870 probably Gebrazhofen -1913 Munich, from 1889 studies at the Royal Munich Art Academy, travel grant and subsequent stays in Italy, circle of the late German-Romans around von Marees and von Hildebrand, created sculptures with serious, timeless imagery based on classical antiquity,new objective tendency, here: seated male nude, renouncing disturbing accessories and overlaps, patinated bronze, monogrammed on theplinth, marble base, age, H. 17 cm

Wilhelm Riedisser, 1870 wohl Gebrazhofen - 1913 München, ab 1889 Studium an der Kgl. Kunstakademie München, Reisestipendium u. folgende Aufenthalte in Italien, schuf Skulpturen mit ernsthaft-zeitloser Bildspracheangelehnt an die klassische Antike, neusachliche Tendenz, hier: hockender Jünglingmit krausem Haar, Verzicht auf störendes Beiwerk u. überflüssige Gestik, Bronze goldfarben patiniert, auf der Plinthe monogrammiert, Gießerstempel H.Noack Berlin, auf Marmorsockel, Alterssp., H. 18 cmWilhelm Riedisser, 1870 probably Gebrazhofen -1913 Munich, from 1889 studies at the Royal Munich Art Academy, travel grant and subsequent stays in Italy, created sculptures with serious, timeless imagery based on classical antiquity, new objective tendency, here: squatting youth with frizzy hair, renunciation of annoying accessories and superfluous gestures, bronze with a gold- colored patina, on the Monogrammed plinth, foundry mark H.Noack Berlin, on marble base, age mark, H. 18 cm

Wilhelm Riedisser, 1870 wohl Gebrazhofen - 1913 München, ab 1889 Studium an der Kgl. Kunstakademie München, Reisestipendium u. folgende Aufenthalte in Italien, Umkreis der späten deutsch-Römer um von Marees u. von Hildebrand, schuf Skulpturen mit ernsthaft -zeitloser Bildsprache angelehnt an die klassische Antike, neusachliche Tendenz, hier:schreitender Männerakt, Pax-Motivik, Verzicht auf störendes Beiwerk u. übertriebene Gestik, Bronze patiniert, auf der Plinthe monogrammiert, Gießerstempel H.Noack Berlin, Alterssp., H. 30 cmWilhelm Riedisser, 1870 probably Gebrazhofen -1913 Munich, from 1889 studies at the Royal Munich Art Academy, travel grant and subsequent stays in Italy, circle of the late German-Romans around von Marees and von Hildebrand, created sculptures with a serious,timeless imagery based on classical antiquity,new objective tendency, here: striding male nude, pax motifs, No annoying accessories and exaggerated gestures, patinated bronze, monogrammed on the plinth, foundry mark H.Noack Berlin, age, H. 30 cm

OGAWA HARITSU (RITSUO): A SUPERB LACQUER TONKOTSU WITH SHELLFISHAttributed to Ogawa Haritsu (1663-1747), sealed Kan 観Japan, 18th century, Edo period (1615-1868)Of rounded rectangular form and oval section, the reddish dark-brown lacquer ground with kinpun and mura-nashiji, masterfully lacquered and inlaid in gold and colored takamaki-e to depict various shellfish and algae. The cover opens to reveal a removable container. The base with an inlaid green pottery square reserve with the seal KAN. HEIGHT 7.6 cmCondition: Excellent condition with minor wear.Provenance: Formerly the property of the Strong Museum, accession no. 75.53 28, donated by Margaret Woodbury Strong (1897-1969), a prolific collector and founder and namesake of the museum. The Strong National Museum of Play (known as just The Strong Museum or simply the Strong) in Rochester, New York is the only collections-based museum devoted solely to the study of play.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.In lacquer, he introduced a vocabulary of new materials not usually associated with lacquer artists such as glazed ceramic pieces, mother-of-pearl, and lead. Haritsu also mastered the technique of making lacquer surfaces appear to resemble other materials such as bronze, tile, ink sticks, and pottery, a style of decoration which became known as Haritsu saiku.Auction comparison: Compare with an lacquer and pottery-inlaid inro depicting shells and signed Ritsuo and sealed Kan, sold at Bonhams, Fine Japanese Works of Art, 13 September 2011, New York, lot 2079 (sold for 4,000 USD). Compare also with a related lacquered wood and pottery-inlaid tonkotsu, described as “After Ogawa Haritsu” and dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 187 (sold for 3,600 GBP).

A large, mixed lot of Bronze Age Marvel comics, within a range of mid 1970's to mid 1980's, featuring (but not limited to); a broken run of 'The Mighty World of Marvel - Starring the Incredible Hulk' (June 1974 - Jan 1977) - issues, nos. 90, 100-24, 126-217, 219-223. As well as a number of issues of; 'The Spider-Woman', 'Cloak and Dagger', 'The Vision and The Scarlet Witch', and 'The Mighty Thor'. Condition Report:The collective condition of the lot is commensurate to their age and collector�s reading - moderate spine role, foxing, and discolouration with some staining and initiating. Collectively, this lot could be considered to have a grade of �Very good -� to �Very Good�.

A bronze model of a rearing horse, mid 20th century, draped with a cloth, on a textured plinth base, 40cm highCondition report: Dirty with some signs of age. Various light marks and wear to the base. Has been patinated with some wear to the finish on corners and edges showing the bronze colour beneath.

A collection of bronze age/ 1980 marvel comics including The Champions 4,5,6, The Spider Woman 5,19,23-26, Shogun Warriors 4,5,7,10,12,13,15,17,18.

FRANZ ANTON VON ZAUNERA GILT SPELTER MODEL OF A PUTTO READINGEARLY 19TH CENTURYInscribed ZAUNER FEC to rear14cm high, mounted on a black slate base 16cm high overall, the base 11.5 x 16cmPlease note this is spelter and not bronze as originally thoughtCondition Report: There are some mild marks, scratches, knocks, and wear to surface consistent with age and use.Gilded surface is quite 'thick' and has variance of colour from rubbing, dirt, verdigris. Edges and margins with rubbing and losses- bolt to base needs fixing as figure is slightly loose- base wornPlease refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

AFTER BENVENUTO CELLINI (ITALIAN, 1500-1571), A PATINATED BRONZE MODEL OF THE TRIUMPH OF PERSEUSLATE 19TH CENTURYThe hero portrayed nude wearing a winged helmet and brandishing his sword in one hand, the severed head of Medusa in his raised other, one foot resting on the body of the gorgon, raised on an elaborate plinth base with inset figural niches, on moulded foot and marble base45cm highCondition Report: There are some mild marks, scratches, knocks, and wear to surface consistent with age and use.There is a crack to his right elbow- and wear to the chocolate brown patination of the upper section notably his chest- and what appears to be a droplet stain to her torso. Some wear to marble basePlease refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Generally in good condition albeit a little dusty. Some wear to patination on his chest. Crack to his right elbow. Images available from Dept. upon request.Condition Report Disclaimer

P BALESTRA, A GILT BRONZE AND MARBLE BUST OF A LADYLATE 19TH OR EARLY 20TH CENTURYPortrayed with hat above protruding curls, and in square necked gown, on an angular base33.5cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and useSome knocks, chips, and losses to some areas such as the hair and other extremities, the base with the usual marks and knocks to the corners and extremities, all elements are solid and stable togetherSome dirt and discolouration to the gilt metal areasPlease refer to additional images for visual reference to condition Condition Report Disclaimer

EDOARDO RUBINO (1874-1951), A BRONZE BUST OF A GIRLCIRCA 1930The young girl portrayed looking forlorn wearing a bonnet above a hexagonal section spreading plinthSigned E Rubino to front edge and with Fonderia Artistica Sperati Emilio Torino foundry mark to side42cm high overallCondition Report: Marks, knocks, scratches, abrasions consistent with age and useThe surface patterner is uneven and with some discolouration, knocks and bumps in particular to the bridge and end of her nose. The securing bolt is solid at time of report, the faceted socle with chips and bumps to the extremitiesPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A MODERN BRONZE LANTERNIN THE MANNER OF GIACOMETTI106cm high Condition Report: Overall of solid construction, the metal frame entirely solid and stable reflecting the lanterns lack of significant age or use The patinated surface with simulated wear and verdis-gris to mimic greater age than this truly possesses, there is some genuine wear to the hanging rose Please note this is sold as a decorative furnishing item only and not as a working electrical lamp - this would need to be rewired and tested by a professional electrician prior to use in a domestic setting.Please refer to additional images for visual reference to conditionCondition Report Disclaimer

CHRISTIAN LIAIGRE FOR HOLLY HUNTA PATINATED BRONZE AND LEATHER UPHOLSTERED 'GIACOMETTI' BENCHLATE 20TH CENTURY46cm high, 151cm wide, 42cm deep Condition Report: Overall of solid construction, the metal frame entirely solid and stable and supporting the bench seatThe blackened surface even overall, the undersides of the feet showing the true colour of the metalThe seat with some marks consistent with age and use in a domestic settingPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

JOSÉ GALLEGOS Y ARNOSA (Jerez de la Frontera, Cádiz, 1857 - Anzio, Italy, 1917)."Scene outside the Basilica of San Marco.Oil on panel.Signed and located (Venice) in the lower right area.Measurements: 16 x 9.5 cm; 26 x 20 cm (frame).José Gallegos y Arnosa, painter and sculptor from Jerez in the second third of the 19th century, was born on 3 May 1857 in the Convent of La Victoria in Porvera Street in Jerez, currently the headquarters of the School of Applied Arts and Artistic Trades and the Business School of that city. As a child he was attracted to the Fine Arts, a passion he shared with Salvador Sánchez Barbudo, who was the same age as him and a regular companion. Together they frequently visited the studio of the romantic painter Luís Sevíl and attended the artistic and literary gatherings organised by the Ysasi sisters.The young José spent a period of apprenticeship at the Casino de Artesanos de Jerez and received advice from artists such as Adolfo del Águila y Camacho. Guillermo Cook, who would later become the active director of the Academia de BBAA in Jerez, pressed for his parents to provide the means for José to study Fine Arts, given the incredible faculties with which the young man was endowed.Once this first stage of apprenticeship was over, in 1873, at the age of 16, he went to Madrid as a boarder of Guillermo Garvey, a winemaking businessman and his father's patron. There, at the San Fernando Academy in Madrid, he began a new stage of his training under the tutelage of Federico Madrazo, and in 1878 he went to Rome to broaden his knowledge and attend classes at the Academia Chigi and the Círculo Internacional de Bellas Artes. There he met Sánchez Barbudo and José Villegas Cordero, then the most influential painter in the colony of Spanish artists in the Italian capital. He decided to settle permanently in the Eternal City and, following the successes he achieved in several exhibitions, which were reflected in the art critics of the time, and encouraged by the prevailing Orientalist fashion, he travelled to Tunisia and Morocco, attracted by the light and the suggestive atmosphere of those exotic lands. The result of those trips was the work "Cortejo nupcial en Marruecos" ("Wedding Procession in Morocco"), which he presented at the Círculo de BBAA Exhibition and which was acquired by the Spanish State. In 1884 he painted "Botín de Guerra" ("Spoils of War"), which won a third medal at the National Exhibition of that year. He sent several paintings on orientalist themes to the Bosch and Hernández galleries and to the Círculo de BBAA in Madrid.In the middle of that decade he travelled around Italy with Sánchez Barbudo, visiting churches, cathedrals and basilicas, which were fundamental to the change of subject matter he introduced into his work in those years: everyday scenes in interiors and exteriors of important cathedrals, the subject of the present pair of panels, which undoubtedly date from this period. In 1891 he won the Gold Medal at the International Exhibition of Fine Arts in Berlin with "Wedding in the Sacristy of the Cathedral of Seville", an award conferred personally by Emperor Wilhelm II of Prussia and granted by an International Jury made up of the most outstanding personalities in the world of the Arts, Sciences and Literature of the time. Guillermo Garvey, his old patron, commissioned him to build an architectural monument to provide the church of Santiago with an extraordinary work of unquestionable beauty: "El Baldaquino de Santiago" monument built on a base of grey Bardiglio marble, in Carrara marble ten metres high made of 43 pieces of marble 36 bronze sculptures and tabernacle in fire-gilded bronze and with a wonderful door in solid embossed silver, in the centre of which is the Redeemer in high relief surrounded by a Heavenly choir in bas-relief.

each five-light candelabra with the fifth candle holder electrified, the bronze bodies of amphora from with goats heads terminating from the side, the arms terminating from acanthus leaves and flowers, each atop a hard stone white stepped plinth with bronze toupie feet; height: 97 cm (38 1/4 in.), special note: not accompanied by shadesCONDITIONThe pair are in fair age-appropriate condition. Minor cracks to the hardstone bases of each. Both wired. Not tested for working condition.

Les Trois Graces (The Three Graces)patinated bronzeheight: 80 cm (31 1/2 in.)signed with PROPRIETE CARPEAUX stamp on baseRELATED LITERATUREMichel Poletti and Alain Richarme, Jean-Baptiste Carpeaux, Sculpteur: Catalogue Raisonne de l'Oeuvre Edite, (Paris: Editions de l'Amateur, 2003), p. 101, SE 23LOT NOTESThis lot is a prime example of Carpeaux's work drawing heavily from his own, La Danse (The Dance), a complex and large sculpture commissioned for the facade of Paris' Opera Garnier. La Danse sculpture was unveiled in July 1869, with much criticism for the highly realistic and sensual female nudes. The sculpture was removed shortly after the installation due to the Franco-Prussian War in 1870 and the death of Carpeaux in 1875. Carpeaux studio designed a series of nine reductions and reconfigurations of La Danse, including the Les Trois Graces. The sculpture now resides in the collection of the Musee d'Orsay Paris.CONDITIONThe sculpture is in good age-appropriate condition. Scuffs present to the ankle of one Grace. A loss of the patina to the hair of another.

Puritamarble and bronze with dark brown patinaheight including base: 55 cm (21 5/8 in.)signed on verso, signed and titled on plaque affixed to baseCONDITIONThe sculpture is in good age-appropriate condition.

with a mantle clock and two candle holders each of gilt bronze with a champleve design, the candle holders held up by two putti, with beaded drip tray and splayed base, the mantel clock with applied foliate and floral gilt bronze detailing, the clock face, enamel with black Arabic Numerals, encased in glass, the clock face with partially effaced Bobois et Barthelemy France, stamped FRANCE, SOCIETE CLUSIENNE S. C.A.P.H. CLUSES on interior of mechanism; height of candle holders: 24.5 cm (9 5/8 in.), height of mantel clock: 35 cm (13 3/4 in.)CONDITIONThe garniture set is in good age-appropriate condition. The clock face will need to be reset into the bronze exterior. The clock was not tested for working condition and is not accompanied by a winding key. Shapiro Auctions does not guarantee the working of this nor any other timepiece in the sale.

squat balbous form, the body with different hues of green glass with patinated bronze with original metal liner, stamped TIFFANY STUDIOS NEW YORK with numerals 238 underside; diameter: 19 cm (7 1/2 in.), height: 11 cm (4 3/8 in.)CONDITIONThe jardiniere is in age-appropriate condition. Patina visible to the interior and bronze accents to the exterior. Minor cracks and losses to several of the glass.

Paul Scheurich (1883-1945): Très rare statuette en bronze figurant 'Bruder Lutz', personnage issu du poème épique Die Wasserkufe de C.M. Wieland, circa 1919 Paul Scheurich (1883-1945): An extremely rare Bronze figure of 'Bruder Lutz' from C.M. Wieland's epic poem Die Wasserkufe, circa 1919On a flat circular base mounted on a black circular pedestal, inscribed foundry mark 'H. NOACK' on the side of the base, 48cm highFootnotes:Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021This unique figure is based on the poem 'Die Wasserkufe oder der Einsiedler und die Seneschallin' by the German poet and writer Christian Martin Wieland (1733 – 1813). He is best-remembered for having written the first 'Bildungsroman', a genre of German literature focussed on psychological and moral growth, in which character change is pivotal to the story. His thought was representative of the cosmopolitanism of the German Enlightenment, exemplified in his remark: 'Only a true cosmopolitan can be a good citizen.''Die Wasserkufe' tells an entertaining, 'Decameronesque' story. Even those who are not familiar with Wieland's work and the figure of the hermit Lutz, will notice the artist's expressiveness, but knowledge of the background to the story makes the enjoyment even greater. The naked hermit stands at his most vulnerable, gaunt and sinewy, his ribs, shoulder blades and vertebrae standing out, his skin hangs limply on the pinched buttocks. He holds his bony left hand shamefacedly in front of his private parts, which play such nasty tricks on him, he has his right hand half in defence, half raised in blessing. Wieland describes these hands of the hermit as 'Tatzen' or 'paws'. Scheurich did not overlook this detail and designed them broadly with short fingers bent with age. Scheurich showed the bronze at the Berlin Secession exhibition in 1919/1920. It was probably only cast in a few copies. The largely lost archive of the Noack bronze foundry does not report on it and the mould has been lost.No other example of this group is known today.For further information on this lot please visit Bonhams.com

Art Deco Period - Signed and Stunning Painted Bronze and Ivory Figure. c.1930. Depicts A Young Female Wearing a Long Flowing Robes In a Standing Position, Her Hands Stretched Out Holding In Each Hand a Small Bird ( Dove ) Signed Louis Barthelemy, Raised on Stepped Alabaster Base. Height 11.5 Inches - 28.75 cms. With Age Related Hairline Cracks.

Bronze Age Ltd, figures of a donkey, bear, pony, etc:- One Tray.

Bronze Age, artefacts (3), c. 1300-600 BC, a flesh hook with cone-shaped hollow body with discoid projections and two square-shaped curved shafts (broken into four pieces); together with a Saxon gilt-bronze disc which is the foot from a square-headed brooch, and a Viking openwork strap-end [3]. Varied state £60-£80 --- Provenance: All found in Yorkshire

Bronze Age, a socketed and looped axe, c. 1000-800 BC, with rounded collar and rectangular-shaped body, 8.2cm x 4.5cm; together with a section of a sword 16.8cm long [2]. Axe with dark brown patina £100-£120 --- Provenance: From a private collection

Iron Age, an enamelled-bronze harness-strap fitting, 1st century AD, a flat disc with two conjoined trumpets forming a reversed S motif, field around with red enamel and beading around the rim; on the underside is a loop situated towards the edge with a rearward-tapering hook attached to the side, 24mm diameter by 14mm deep, including hook. Very fine with an olive-green patina and 90% of the enamel intact £400-£600 --- Provenance: Found in South Cambridgeshire (PAS BH-EF2C40) It is a close match in style to chariot horse trappings

Bronze Age, Mesopotamia, a cuneiform clay tablet, c. 2000-1600 BC, with seal impression on both sides, enclosed within its original envelope which is impressed on the top. All writing clear, envelope has been repaired £200-£260 --- Provenance: From a private collection, originally bought from a Lapada dealer

CATUVELLAUNI, Tasciovanus, Bronzes (2), male head right, rev. mounted warrior left, holding carnyx, 1.70g (ABC 1676; S 246); eight-pointed star, v[erla]mio in angles, rev. bull left, 1.96g (ABC 2679; S 247); together with another Iron Age bronze [3]. Fair to fine, rare £60-£80

British Iron Age, CANTIACI, Early Uninscribed series, Bronze, Bear and Bull type, bear right, bird perched on back, rev. bull right, 2.35g/7h (ABC 267; S 176). Very fine, green patina £90-£120

A CHINESE CARVED WOOD PAGODA FORM ALTAR SHRINE The sweeping roof supported by four turned column supports, with folate carved decoration, and pierced panel doors, the interior with a gilt Rattanakosin style bronze buddha 65 high x 40 deep x 59cm wide Condition: Signs of wear commensurate with age and use, inner door is detached, some losses to the roof

A LARGE CHINESE BRONZE FIGURE OF A DRAGON The five clawed dragon with its mouth open, coiled atop a stylised cloud base 110cm high Condition: Dragon lacking left hand whisker, otherwise minor signs of wear commensurate with age and use

A Chinese Bronze Figure of Shou-Lao, Daoist God of Longevity, holding a dragon staff and peach, 19.5ins (49.5cm) highCondition ReportThis has an all over green mechanical patination to suggest age.  The figure holds a peach in his natural right hand.  This has no fixing and is loose.  The staff is detachable.  There is no obvious damage/loss/restoration to this model. 

Antiquities: a Luristan bronze dagger, probably Iron Age, 31.5cm long. 

MACEO Y GRAJALES JOSE ANTONIO: (1845-1896) Guerrilla iconic Leader and second-in-command of the Cuban army of independence. Cubans nicknamed Maceo ”The Bronze Titan” because of his multiple wounds in battle, while Spanish nicknamed him “The elder Lion”. Maceo was killed near Punta Brava by Spanish forces after being betrayed by the physician of his headquarters. Rare L.S., `A. Maceo´, one page, 4to, Republic of Cuba, 8th September 1896, in Spanish. The present letter was signed only three months before being killed. The document bears a blind embossed seal and is the appointment of Sargent Nicolas Yneraite as second-Lieutenant, and signed by Mateo y Grajales in his capacity as Lieutenant General of the Liberation Army of Cuba. Overall age wear, creasing and staining, with few holes and small tears to edges. About F