We found 12576 price guide item(s) matching your search

THORVALDSEN BERTEL: (1770-1844) Danish Sculptor. A Medalist of international fame who spent a large part of his life in Italy. Among his more famous public monuments are the statues of Copernicus and Poniatowski in Warsaw, the one of Maximilian I in Munich or the tomb monument of Pope Pius VII which is the only work by a non-Catholic in St. Peter´s Basilica in Rome. Rare A.L.S., Alberto Thorvaldsen, one page, 4to, Rome, 13th June 1830, in Italian. Thorvaldsen states `Avendo veduto io sotto nello studio dei Signori Jollage ed Hopfgarten scultori in metallo qui in Roma i lavori fatti dal Sig[nor] Bartolomeo Conterio, ed avendo ancora conosciuti alcuni conii incise dal med[essimo] non ho potuto a meno di lodare l´esattezza, e l´abilita con cui erano fatti, ond´e che non dubito di attestare che il medessimo , atteso l´amore che porta allo studio, ed al lavoro, possa riuscire un bravo artista, e far onore a chi potesse incoragiarlo nell´arte sua.´ ("Having seen in the study of Messrs Jollage and Hopfgarten, metal sculptors here in Rome, the works done by Mr. Bartolomeo Conterio, and having also known some medals engraved by them, I could not help but praise the accuracy, and the skill with which they were made, so that I have no doubt to attest that the same, given the love that leads these works, can be a good artist, and honour those who could encourage him in his art´ Paper with watermark. With blank integral leaf. Small overall age wear and staining, otherwise G Wilhelm Hopfgarten (1789-1860) and Benjamin Ludwig Jollage (1781-1837) were German Sculptors who started a bronze foundry and a sculpture studio in Rome in 1805. They got important commissions casting bronzes for renowned artists working in Rome, such as Bertel Thorvaldsen or Antonio Canova. The Miguel de Cervantes bronze statue at the central Square of Las Cortes in Madrid was designed by Antonio Sola and cast in Rome by Hopfgarten and Jollage.Bartolomeo Conterio (1802-1840) Italian Sculptor.

EPSTEIN JACOB: (1880-1959) American-born British Sculptor. Collection of ten A.Ls.S., Jacob Epstein, nineteen pages (total), 8vo, Hyde Park Gate, Kensington, 28th October 1953 to 10th June 1954, each to David Hardman, secretary of the Sir Stafford Cripps Memorial Trust. In the first letter Epstein invites Hardman to come and see the bust of Cripps, explaining that it is not finished however adding that Lady Cripps is also keen to see it, and explaining 'I am a little uncertain about showing it yet to Lady Cripps who of course will have a not unnatural anxiety about it & I want really a decision from you before I show it [to] her'. The sculptor also comments on being shown an unsuitable place in St. Paul's that had been allocated to the bust although adding that he now understands he can choose any place he wishes for the memorial. In his second letter Epstein thanks Hardman for a payment of £337 and announces 'Tomorrow I am showing the bust to Lady Cripps, not without some trepidation! I think I have interpreted Sir Stafford in the right spirit.' and in further letters discusses the inscriptions to appear on the bust, preparations for sending the work to the foundry ('I have been today to the foundry & the more I think of it the less I like the idea of glasses on the bust. After all God made Sir Stafford without spectacles'), also requesting the final payment from the committee, updating Hardman on the progress at the foundry, discussing his thoughts on the pedestal ('Dove silver grey will look very fine & show up the bronze.'), and also commenting on a meeting at the foundry ('The reception….was somewhat curious I thought. The ecclesiastic talked as if we were attempting a crime when I asked about the site of the bust & Mr. Attlee was like a frozen turnip. A somewhat chilling affair.'), stating that he hasn't the heart to battle with the Cathedral authorities and also asking for confirmation of the date of the unveiling and requesting 5 or 6 tickets to give to friends who would like to attend ('I recall that the Dean hinted that a crowd would not be welcome! What a silly idea….I don't mind in the least the vagaries of the ecclesiastical mind. Of course it is their cathedral.') and in the final letter Epstein thanks Hardman for 'photographs of [the] great event, when we were shoved out after half an hour' and asks if he saw Tom Driberg's account? An interesting series of letters. One letter has some light age wear and another has a minor tear, a few with ink annotations (presumably in Hardman's hand), otherwise G to generally VG, 10 Sir Richard Stafford Cripps (1889-1952) British Labour Politician, Chancellor of the Exchequer 1947-50.

A pair of 19th Century Chinese chocolate patinated bronze figures of temple lions with foot upon a ball and/or cub each wearing a necklace with swinging ball pendant raised on a cast and embossed blanket covered socle or pedestal bearing four character "Wanli" mark to front of base 26 cm long x 17.5 cm wide x 33 cm high CONDITION REPORTS Some pitting, surface scratches, etc, throughout and particularly to one side of the dog with the patching. One has some filled patches to the bronze, however, appears to have been some time ago so assume during manufacture. Otherwise general wear and tear conducive with age and use. See images for further detail.

A BLUE AND WHITE VASE MOUNTED AS A TABLE LAMP The ceramic 18th/19th Century, with foliate gilt bronze mount to the base 48cm high Condition: Minor signs of wear commensurate with age and use, some chips observed, wear to the gilding on mounts, in working condition

Deutsches Reich 1933 - 1945 - Zeitgeschichtliche Objekte : Dokumentennachlass des Berliner Polizeipräsidenten und SA-Obergruppenführers Wolf-Heinrich Graf v. HelldorffGraf von Helldorff war bis zu seinem Ausscheiden aus dem Heer 1918 Berufsoffizier, trat dann verschiedenen Freikorps bei und beteiligte sich maßgeblich am Kapp-Putsch 1920. Schon früh gelangte er aufgrund seiner deutsch-nationalen Einstellung zur SA, deren Führer von Berlin er 1931 wurde. 1932 übernahm er den Vorsitz der NSDAP-Fraktion im preußischen Landtag; seit 1935 bis zur Verhaftung nach dem 20. Juli 1944 hatte er das Amt des Polizeipräsidenten von Berlin inne. Seine Beziehungen zum Widerstand, die er seit 1938 über den Goerdeler-Kreis besaß, sind umstritten; er gehörte ihm wohl mehr aus zeitbedingtem Opportunismus, denn aus gleicher Gesinnung an. Am 20. Juli 1944 war er insofern beteiligt, als die Berliner Polizei die militärischen Aktionen auf Seiten Becks und Stauffenbergs unterstützte. Vom Volksgerichtshof am 8.8.1944 zum Tode verurteilt, wurde er am 15.8.1944 in Berlin-Plötzensee hingerichtet. Eisernes Kreuz 2. Klasse, 1914. Silber/magnetisch, ohne Band. Ehrenkreuz für Frontkämpfer 1914-1918. Bronziert, an Band. Luftschutz-Ehrenzeichen 2. Stufe (1938-45). Zink, an Band. Vorläufiges Besitzzeugnis zum Eisernen Kreuz 2. Klasse vom 23.8.1915, mit OU des Kommandeurs des Husarenregt.12, Oberstleutnant Mumm v. Schwarzenstein. Vorläufiges Besitzzeugnis zum Eisernen Kreuz 1. Klasse vom 5.9.1917, mit OU des Kommandeurs der Maschinengewehr-Scharfschützenabt. Nr.64, Major Stavenhagen. Gesiegelter Umschlag zum Diplom über die Verleihung des Großherzgl. Ritterkreuz II.Abt. mit Schwertern des Hausordens vom weißen Falken. Verleihungsurkunde zum Großoffiziers der Krone von Italien vom 24.9.1937, mit OU des Chefs des Zeremonialbüros des kgl..Außenministeriums. Dazu die deutsche Übersetzung der Verleihungsurkunde. Besitzurkunde zum Tragen des Ehrenzeichens der NSDAP vom 11.4.1939 (zum 30.1938), mit OU des Reichsschatzmeisters Schwarz. Annahmegenehmigung zum Komturkreuz mit Stern des Königlich Ungarischen Verdienstordens vom 24.4.1939 Verleihungsurkunde zur Spange zum Eisernen Kreuz 2. Klasse 1914 vom 28.4.1941, mit OU des Führers der 8. Panzer-Divission, Oberst Neumann-Silkow. Verleihungsurkunde zur Spange zum Eisernen Kreuz 1. Klasse 1914 vom 9.7.1941, mit OU des Kommandeurs der 8. Panzer-Divission, Generalmajor Brandenberger. Besitzzeugnis zum Panzerkampfabzeichen in Bronze vom 2.9.1941, mit OU des Kommandeur des Schützenregiments 8, Oberst Crissoli. Übersendungsschreiben des Staatsministersund Chefs der Präsidialkanzlei des Führers und Reichskanzlers für das vorläufige Besitzzeugnis zum Ritterkreuz des Kriegsverdienstkreuzes mit Schwertern vom 21.3.1944, mit OU des Staatssekretärs Doehle. Schiffchen für Offziere der Wehrmacht. Uniformstoff mit silbergesticktem Wehrmachtsadler und Reichskokarde, silberfarbiger Paspelierung und Winkel der Kavallerie. Mottenschäden. 18 Dokumente zum Nachweis der arischen Abstammung von H. und seiner Ehefrau Ingeborg Ellinor geb. v.Wedel u.a.. Umfangreicher Dokumentennachlass (79). Auszug aus der Kriegs-Rangliste, Ausweis des Beauftragtes des Vollzugsrates des Arbeiter- und Soldatenrates vom 23.11.1918, Inventarliste der Diensträume des Polizeipräsidenten, Personalberichigung t des Regierungspräsidenten zu den Personalien und Bekanntmachung des Polizeipräsidenten über die Durchführung der Verdunkelung vom 6.1.1940, Abrechnung der Dienstwohnung vom 4.4.1944 und der Fernsprechrechnungen., Schreiben von Generaleutnant a.D Graf v. Wuthenau, Regierungspräsident Dr. Schönberg, Eugen v. Bongardt,, Dr. Max Blunck, Graf Khuen, Anfragen versch. Bittsteller, usw., Rechnungen über den Kauf von Pistolen (Walther) , Jagduntensilien, Uniformteile und Effekten, Mitgliedsbeiträge, Fahrzeugzubehör u.a.. Private Korrespondenz zur Regelung von Eigentumsverhältnissen nach der Hinrichtung von H. u.a.. Fotos von H. in Uniform mit Sohn Benno; Foto in Uniform auf Jahrmarkt, mit Göbbels und Kinder; Großfoto von den Kindern von H. und Dr.Goebbels, Hochzeitsfoto von H. in Uniform des Husaren-Regt.12 im Kreis der Familien (Rothenburg 1912). Führerschein mit Lichtbild 1923; KfZ-Brief 1939 (Fiat); Brief von H. an seine Frau, dass es in der Berliner SA zu Streitigkeiten wegen der Führung gibt; Inländer-Jahresjagdscheine für H. und eine Frau, jeweils mit Lichtbildern, Beitragsmarken und Ausstelldatum vom 29.4.1941; Mitgliedskarte im D.D.A.C. und a.. Konvolut Dokumente 1940-42 als Oberleutnant bzw. Rittmeister der Wehrmacht. Großfoto als Oberleutnant der Wehrmacht. 75 Fotos von der Olympiade Berlin 1936. 2 Großfotos im Gespräch mit Hitler, sowiemit Ritterkreuz des KVK 55 Fotos in SA-Uniform als Gruppen- und Obergruppenführers, Husarenuniform (3), Winterurlaub mit Max Schmeling (7), mit Dr. Goebbels, Fronteinsatz an Der Maginot-Linie 1940 (10), Foto-PK Oberst Crisolli mit OU, Reichsfrauenführerin Scholtz-Klink (8), Dr. Goebbels und GFM v. Rundstedt u.a..The Third German Reich 1933 - 1945 - Zeitgeschichtliche Objekte : Dokumentennachlass des Berliner Polizeipräsidenten und SA-Obergruppenführers Wolf-Heinrich Graf v. Helldorff Helldorff was a professional officer until he left the army in 1918, then joined various Freikorps and played a major role in the Kapp Putsch in 1920. His German-nationalist views led him to join the SA at an early age, and he became its leader in Berlin in 1931. In 1932 he became chairman of the NSDAP parliamentary group in the Prussian state parliament; from 1935 until his arrest after July 20, 1944, he held the office of Berlin police chief. His relations with the resistance, which he had had since 1938 through the Goerdeler Circle, are disputed; he probably belonged to it more out of opportunism dictated by the times than out of like-mindedness. He was involved in July 20, 1944, insofar as the Berlin police supported the military actions on the side of Beck and Stauffenberg. Sentenced to death by the People's Court on 8 August 1944, he was executed in Berlin-Plötzensee on 15 August 1944. Iron Cross 2nd Class, 1914. silver/magnetic, without ribbon. Honor Cross for Frontline Fighters 1914-1918. bronzed, on ribbon. Air Raid Warfare Badge of Honor 2nd Class (1938-45). Zinc, on ribbon. Provisional Certificate of Possession of the Iron Cross 2nd Class dated 23.8.1915, with OU of the Commander of the Hussar Regiment 12, Lieutenant Colonel Mumm v. Schwarzenstein. Provisional certificate of possession to the Iron Cross 1st Class dated 5.9.1917, with OU of the commander of the Maschinengewehr-Scharfschützenabt. No.64, Major Stavenhagen. Sealed envelope to the diploma about the award of the Grand Ducal Knight's Cross II. with swords of the House Order of the White Falcon. Award certificate to the Grand Officer of the Crown of Italy dated 24.9.1937, with OU of the Chief of the Ceremonial Office of the Royal Foreign Ministry. With the German translation of the award certificate. Certificate of possession to wear the Decoration of Honor of the NSDAP from 11.4.1939 (to 30.1938), with OU of the Reichsschatzmeister Schwarz. Acceptance certificate for the Commander's Cross with Star of the Royal Hungarian Order of Merit dated 24.4.1939. Award certificate for the clasp to the Iron Cross 2nd Class 1914 dated 28.4.1941, with OU of the leader of the 8th Panzer-Divission, Colonel Neumann-Silkow. Award certificate for the clasp to the Iron Cross 1st Class 1914 dated 9.7

MCMONNIES, FREDERICK WILLIAM (NACH) (1863-1937) „Putto mit Ente“, Bronze, dunkel patiniert, auf gestuftem Steinsockel stehend, balancierender Putto hält mit beiden Armen eine strauchelnde Ente fest. H Bronze: 70 cm. Leichte Altersspuren, H Sockel: 7,5 cm, eine Ecke ausgebrochen.| MCMONNIES, FREDERICK WILLIAM (AFTER) (1863-1937) "Putto with Duck", Bronze, dark patina, standing on a stepped stone base, balancing putto holding a stumbling duck with both arms. H bronze 70 cm. Slight signs of age, H base: 7.5 cm, one corner broken off.

SONNENFELD, GOTTHARD (1874-?) "Bogenschütze" Anfang 20.Jh., Bronze, antikisierender nackter Athlet, seinen Bogen spannend, auf rechteckigem Steinsockel, HxBxT: (mit Sockel) 42/27/12 cm. Normale Altersspuren.| SONNENFELD, GOTTHARD (1874-?) "Archer"Early 20th c., bronze, antique nude athlete, cocking his bow, on rectangular stone base, HxWxD: (with base) 42/27/12 cm. Normal signs of age.

SCHMIDT-HOFER, OTTO (1873-1925) "Trägerin mit Tablett" Bronze, Frauenakt in eleganter Haltung auf höherem Sockel, H: (mit Sockel) 42 cm. Leichte Altersspuren.| SCHMIDT-HOFER, OTTO (1873-1925) "Carrier with Tray".Bronze, female nude in elegant posture on a higher plinth, h: (with plinth) 42 cm. Slight signs of age.

A FRENCH SPELTER SCULPTURE OF A SEATED FIGURE PERSONIFYING AUTUMN (2)Late 19th Century Mounted on a variegated pink marble plinth, 34cm; Together with a bronze patinated figure of a Water Carrier, on a cylindrical walnut base, 38cm highCondition report: The seat Maiden or personification of harvest, with a rubbed patination revealing the silvery alloy metal beneath and general oxidisation. Dirt an d dust overall, particularly to the recesses. A chipped area to the base, on a rock below her foot.  The Water Carrierwith rubbed areas commensurate with use and age. Buckets loose and with various small dents. Plinth a little won with some hairline shrinkage and chips. 

A late 19th or early 20th century bronze bust of Sappho, loose on a shaped marble base, 29 cm high x 33 cm wide, unsigned.Condition report: No obvious damage or repair. Some surface marks and scrapes, commensurate with age. Not fixed to base.

A fine pair of Retour D’ Egypte ormolu and patinated bronze four sconce candelabra, in the manner of Pierre Philippe Thomire, early 19th century possibly Naples, Italy. Each with gilt scrolling branches issuing from Egyptian style female figures, on architectural veined marble architectural plinths with sepulchral appliques. 77.5 cm high overall Lot 90, Sotheby’s Ariane Dandois sale, 25 October 2007, New York.LOT 382, Sotheby’s, 13 June 2001, London Footnote: Probably based on a similar pair that can be seen in the Louvre that are to a design by Charles Percier (RF30630) the column design was originally taken from a sketch and was originally conceived as caryatid supports for a table. Condition report: Some minor damage to the mounting plate of one candelabra, no visible repairs or further damage to either.Expected wear to patina likey from age, slight tilt to both central sconces, probably part of flower motif.One corner of the architecturally base has a small patch

A collection of antiquities, comprising a Roman bronze Camulodunum Type V Fibula, known as a Dolphin brooch, circa 50 - 150AD, 4.3cm; a Celtic bronze matching Woad grinding set, circa 1st century BC/AD, of boat shape with ball terminals and a crescent form pestle (found Norfolk); a middle bronze age dagger blade, circa 2200BC, 22.5cm, a Roman legionnaire's bronze short sword amulet, 4cm; a Roman phallus pendant and medallion, each 3.5cm; a Roman bronze eagle medallion and two silver coins, 18mm & 14mm dia; a 15th century Pilgrims badge of St Leonard, 3.5cm, a Celtic bronze pestle, 7.3cm, a Bronze brooch in the form of a swimming turtle, 3cm, and two arrowheadsThe Fibula with the original receipt of purchase in 1974 from The Ancient World ( Bernard C Pickard).

A large Tibetan style hardstone Bi disk with applied bronze boss embossed with zodiac symbols and a central reserve with the figure of Garuda. 41 cm diameterCondition report: Other than some light surface scratches there are no obvious visible faults. No chips, cracks or signs of restoration. Of insignificant age.

Élisabeth Sonrel (French, 1874-1953)A portrait of a hooded lady signed 'Elisabeth Sonrel' (lower right)charcoal, pastel and bodycolour32.3 x 23.5cm (12 3/4 x 9 1/4in).Footnotes:Élisabeth Sonrel grew up in Tours, France, where her father was an amateur artist. It is very likely that it was under his tutelage that Sonrel first began to develop her skills as an artist. After moving to Paris in 1891, Sonrel undertook formal training under Jules Lefebvre (1836–1911) at the private art school, Académie Julien. At this time, although they received the same training, women were taught in separate classes from their male counterparts. Sonrel's decision to study privately is likely in no small part because the public art schools, most notably the École des Beaux-Arts, did not allow women to attend until 1897.At only eighteen, Sonrel submitted her graduation work from the Académie, and this can be seen at the Musée des Beaux-Arts, Tours. Soon after, in 1893, she became one of only a few women artists selected to exhibit at the famed Salon des Artistes Français in Paris. She would continue to exhibit at the Salon until late in her career, with her last exhibited work there being shown in 1939.The quality of Sonrel's work, and the respect and recognition she had from her peers, is highlighted by her being awarded the 1895 Henri Lehmann prize given by the Académie des Beaux-Arts. This prize was awarded every three years to an artist under the age of twenty-five in recognition of academic excellence. She was awarded the prize for her work The Sleep of the Virgin which was subsequently acquired by Felix Faure, the French president at the time, and the work would go on to be exhibited at the 1900 World Fair held in Paris where it was awarded a bronze prize.Sonrel enjoyed a successful career in the arts and was best known for her poster designs in the Art Nouveau style. However, given the large number that were produced throughout her career, it was her watercolours of meditative female sitters, often from medieval legend, in which we can see her real passion. In these, one can see the influence of early Renaissance painters and the work of the Pre-Raphaelite Brotherhood.In 2021 the Ashmolean Museum, Oxford, acquired a work by Sonrel with funds from the Art Fund. Underappreciated since her death, this acquisition highlights the increased recognition and profile of the artist in recent years.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A PAIR OF FRENCH BRONZE, ORMOLU AND ROUGE GRIOTTE MARBLE CANDELABRAIN THE MANNER OF CLODION AND LOUIS FELIX DE LA RUE, 19TH CENTURYeach 43cm high, 24cm wide, the bases 14.5cm wideCondition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use. Both have previously been fitted for electricity with drilled holes to reverse of nozzles. Nozzles pans with pitting and wear- gilding throughout with dirt and some pitting- notably to reverse of each. Nozzle/branches a little loose. Marble bases with some wear and damages to edges. Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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

A PAIR OF BRONZE FIGURES OF A CHERUB AND A GIRLIN THE MANNER OF CLODION, 19TH CENTURYEach on a gilt metal mounted tarquin marble plintheach 34cm high, the bases 16cm wideCondition Report: There is some wear consistent with age and use. Mild rubbing to extremitiesSmall repair to chip to plinth base of archer figure- the other with loose gilt mount- some sticky residue- and small wear to top of neck/shoulders of eachPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer

A REGENCY BRONZE DOG CARD HOLDERIN THE MANNER OF THOMAS WEEKS, EARLY 19TH CENTURY The dog realistically modelled, with articulated "card holder" jaw, white marble base18cm high, the base 16.6cm wideIn 1797 Thomas Weeks established his renowned museum of 'mechanical curiosities' at Nos. 3 & 4 Tichbourne Street, London and specialised in the sale of fine novelty clocks, bronzes and paperweights such as this.Condition Report: There are some very minor marks, and abrasions consistent with age and use. The top and back slightly paler in colour- possibly from handling and dusting. Jaw mechanism strong.  Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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

A PAIR OF FRENCH BRONZE AND GILT METAL THREE-LIGHT FIGURAL CANDELABRA IN THE EMPIRE MANNER, POSSIBLY PALAIS ROYALE, CIRCA 1860-80 Each with central winged figure of Nike supporting candleholders, engine turn decorated cylindrical baseeach 50.5cm high, the bases 10.5cm wideCondition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use.Gilding slightly worn and pitted. 1 wing with repair- 1 candle branch with repair around junction point with laurel wreath  Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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

A PAIR OF ORMOLU, BRONZE AND GLASS LAMPS FRANCO-AUSTRIAN, 19TH CENTURY Variances in cutting to the reservoirs, each with wick adjuster marked "Sonnenbrenner R Ditmar Wien", now fitted as lamps with shadeseach 81cm high overall including fitmentsCondition Report: There is some wear consistent with age and use.Height to underside of reservoirs is 52cmBoth have vacant hole to the stem suggesting there may have been originally an additional mount.One standing slightly off centre/leaning from the vertical.Old sticky residue from labelsSome wear to glass- shades showing age and wearPlease see the additional photographs as a visual reference of condition and which form part of this condition report. Condition Report Disclaimer

AFTER ALFRED DUBUCAND (FRENCH, 1828-1894), A FRENCH BRONZE GROUP OF 'L' ANIER DU CAIRE' (A BOY AND DONKEY)LATE 19TH CENTURY The base inscribed 'A E DUBUCAND', foundry stamp to reverse EV 2816,21cm high, 18cm wide, 10cm deepAlfred Dubucand (1828-1924) studied under the animalier sculptor Barye and, following Barye's influence, produced realistic models of animals throughout his career. He made his debut at the Salon of 1867 and exhibited until 1883. Dubucand is renowned for his work depicting the people and animals of North Africa and the Middle East- as illustrated by this work.For a related bronze see Bonham's, London, Period Design, 9 June 2009, lot 43 (£3,000)Condition Report: There are very minor rubbing marks, consistent with age and use.Small spot stain to front of plinth, right stirrup missing, reins misshapen, some rubbing to rear around saddle edges, his stick is duller in colour suggesting it has either been repositioned- or replaced. Retains some red colour to his hat Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders Condition Report Disclaimer

Y A FRENCH ROSEWOOD AND PARQUETRY OCCASIONAL TABLEBY FRANCOIS LINKE (1855-1946), LATE 19TH/EARLY 20TH CENTURYWith a frieze drawer, the gilt bronze edge moulding engraved 'F. Linke' 73.5cm high, 56cm wide, 33cm deepBorn in Bohemia, Linke arrived in Paris in 1875. In 1900 The Art Journal reported 'The work of Linke ...was an example of ... seeing inspiration amongst the classic examples of Louis XV and XVI (furniture) without in any great sense copying these great works'. From 1900 to the outbreak of the Second World War La Maison Linke became a pre-eminent furniture house in Paris, epitomising the spirit of the 'Belle Epoque'.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. The varnished surface with various losses and scuffs resulting in some lighter coloured areas - see images. Key present and operates lock. Small amounts of filler used in places. The mounts with the expected wear and dark deposits. Some minor old veneer repairs - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

EDITH BARRETTO STEVENS PARSONS (AMERICAN, 1878-1956), A PAIR OF BRONZE MODELS OF TERRIERS MID/EARLY 20TH CENTURY The Scottish terriers depicted in playful mood, one ready to play, the other chasing its tail, both with cast signature and Gorham Foundry markeach 9.5cm high, the bases 18cm wideCondition Report: There are some minor marks, scratches, knocks, and abrasions consistent with age and use. Both with greenish verdigris and dirt build up to crevices of fur. Bases are plaster filled Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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 CHRISTOPHE FRATIN (FRENCH, 1800-1864), A BRONZE ANIMALIER GROUP OF A LION LATE 19TH CENTURY The male lion depicted bringing back an antelope from its hunt, stamped to base35cm high, the base 57cm wide, 16cm deep Condition Report: There are some very minor wear, marks, scratches, knocks consistent with age and use.Underside of base showing flaw to casting at back right hand corner of plinth- this is also just visible from the outside.  Please see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer

A BRONZE HALF LENGTH BUST OF A GREEK WARRIORAFTER THE RIACE BRONZES, LATE 20TH CENTURY On modern standBronze 79cm high, 108cm high overall, approximately 46cm wide (not 58cm as originally stated)The two bronze "Riace Warrior" figures were first discovered in 1972 on the ocean floor 200 metres off Riace, Southern Italy. After conservation they are now displayed in the Museo Nazionale della Magna Grecia. This would seem to be a part cast of Statue A, the younger warrior who people have suggested may be a depiction of Tydeus.Condition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use. The bronze approx. 79cm high, 46cm wide with faux aging from patination, some casting deposits in crevices. The bronze looks to be welded to the stand armature- base of stand with knocks, scratches and damage no edition number or foundry marks.Provenance; private vendor West Berkshire Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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

A CARVED MARBLE PART FIGURE OF THE SEER AND PRIEST LAOCOÖNAFTER THE ANTIQUE, PROBABLY ITALIAN OR FRENCH, LATE 19TH CENTURYCarved white marble with faint grey variegation, set on associated 19th century scagliola column pedestalthe torso/bust 83cm high, the pedestal 89.5cm high, 172.5cm high overall This bronze group is based upon one of the most celebrated sculptural groups marbles from classical antiquity, which was discovered on 14 January 1506 near Santa Maria Maggiore in Rome. The full group depicts the priest, Laocoön, and his sons struggling against the serpents which have been sent to kill them by the goddess Minerva for warning the citizens of Troy against allowing the Wooden Horse to be brought into their city.It was acquired by Pope Julius II soon after its excavation, and moved to the Belvedere, where it has remained - with a Napoleonic interlude in Paris from 1800 to 1815 - ever since.Condition Report: There are marks, knocks, scratches, scuffs and abrasions consistent with age and use, some to the extremities and edges.The figure is lacking arms, the right arm with recesses for metal rods, now removed and cut with rust staining. Some pitted areas including to the right side of the figure. A crack under the left rib area. The figure is not cleaned and is smooth, suggesting that it has been in an interior.There is surface dirt and discolouration to the marble overall, there is some dirt and dust to the deeper recesses. There are some natural veins present, some quite dark.The scagliola column has some pitted/recessed areas and some chips including to the edges. Additionally some flaws and cracks- notably to moulding at basePlease refer to the additional images for a visual reference of condition. Condition Report Disclaimer

AFTER ANTONIO CANOVA (ITALIAN, 1757-1822), A NEAR PAIR OF BRONZE MODELS OF RECLINING LIONS LATE 19TH CENTURY On rouge marble baseseach 13.5cm high, 17.5cm longPlease note this is a "NEAR pair" not as previously cataloguedCondition Report: There are some minor marks, scratches, knocks, and abrasions consistent with age and use. There is a variance both of colour (one darker- the other lighter milk chocolate brown) and scale/size which would suggest these are best regarded as a "NEAR pair" not a true pair. Some wear to base edges Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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 THE ANTIQUE, A FRENCH BRONZE FIGURE OF 'THE BORGHESE GLADIATOR' 19TH CENTURY 49cm high, the base 35.5cm wideThe original marble statue for this piece was found near Anzio, Italy in 1611 and is thought to be a late Hellenistic work in the style of the influential 4th-century BC sculptor Lysippos. The original was in the Borghese collection in 1613 and subsequently purchased by Napoleon Bonaparte in 1807 before being gifted to The Louvre- where it resides today.Condition Report: There are some very minor marks, and abrasions consistent with age and use.The left side, flank and leg of a slightly more green colour- possibly from dusting/handling. Otherwise generally good Please see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer

A LOUVRE MUSEUM FULL SIZE PLASTER CAST OF 'THE APOLLO BELVEDERE' LATE 19TH/EARLY 20TH CENTURY The plinth base with impressed oval medallion mark "Musee Du Louvre, Reproduction Interdite, Ateliers De Moulage',approximately 230cm high, 160cm wideViewing; Please note this lot is on view by appointment only at our Hambridge Lane Premises- approximately 10 minute drive from Donnington PrioryThe original white marble statue from which this is a cast is thought to be a Roman copy of a lost bronze original made between 350 and 325 BC by the Greek sculptor Leochares and depicts Apollo as a standing archer. The statue was rediscovered during the Renaissance, probably in 1489 in the Anzio region of Italy and was in the private collection of Giuliano della Rovere before he became Pope Julius II. He moved it to the Vatican where today it is in the Gabinetto delle Maschere of the Pio-Clementine Museum (after a brief sojourn from 1798-1815 when Napoleon displayed it in the Louvre). The statue was restored in the 1530s when the left hand, right forearm, and fig leaf were added at the request of Pope Paul IV.Condition Report: Viewing and collection; Please note this lot is on view by appointment only at our Hambridge Lane Premises- approximately 10 minute drive from Donnington Priory There are multiple marks, scratches, knocks, chips, cracks, damage, repairs and abrasions consistent with age, use and nature of material.Restorations including; to the right hand, left wrist, base, right elbow, and possibly feet etcHairline cracks visible including; to top of right leg- front and back, quiver, base throughout including most notably around Louvre roundel and upwards, right ankle, junction point of right arm and support etc Losses including to hair and some edges etc Please see the additional photographs as a visual reference of condition and which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.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

A PAIR OF DIRECTOIRE BRONZE AND ORMOLU CASSOLETTESCIRCA 1800Each with reversible lid with leaf and berry finial, satyr head masks above swept legs, cloven feeteach 24cm high as candle holders, the bases 10cm diameterCondition Report: There are some marks, scratches, knocks, and abrasions consistent with age and use.Both look to have been well handled/used and have lost patina and are rubbed around extremities and areas such as the masks. originally they may well have had a lot more gilding. One nozzle with ding and split.  Please see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. 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 description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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

Demark Mint Stamps on Album Leaves, 58 Stamps from 1940s to 1970s Including King Frederik IX 20 and 25, Princes Anne-Marie 25+5 ore 1950, S Kierkegaard 30 1955, Selandia 60 1962, Carl Nielsen 50 1965, Morse Key, Teleprinter Tape and ITU Emblem 80 1965, Child in Meadow 50+10 1965, C Kold 50 1966, Aimshouses Copenhagen 50 1966, G Jensen 80 1966, Princess Margrethe and Prince Henri de Monpezat 50 1967, Porpoise and Cross-Anchor 90 1967, Bronze-Age Ship 30 1970, Candle in the Window 50 1970, Refugees 60 1971, Mail Coach 15 and 25 1971, Beet Harvester 80 1972, plus many others. Good condition Est.

A FRENCH BRONZE OF A FEMALE NUDEEarly 20th CenturyModelled holding her ankle, stamped to the back ‘A 1134’ and with foundry seal ‘BRONZE GARANTI PARIS J.B. DEPOSEE’ mounted on black marble base, 38.5cm highCondition report: Dirt and dust. A few marks and rubbed patina commensurate with use and age. 

A PAIR OF FRENCH POLISHED BRONZE FIGURES (2)Late 19th CenturyModelled as a Falconer and his companion, each modelled with hunting dogs, 35cm highCondition report: Dust and dirt, particularly to the bases. General rubbing, light tarnishing and wear commensurate with use and age. 

A PAIR OF FRENCH BRONZE FIGURES OF CLASSICAL MAIDENS (2)Late 19th CenturyModelled in drapery, one stamped with serial number 3807 to the base, 40.5cm highCondition report: Dirt and dust, notably to the recesses. Some rubbing to the patina in places commensurate with age.The one with the stamped serial number also with a plug visible to the back of the arm. Please see extra images. 

A PAIR OF LOUIS XVI STYLE GILT-BRONZE ANDIRONS OR CHENETS20th CenturyModelled with flaming urn finials, one stamped ‘L.R 1078’, 39.5cm wide; 44cm highCondition report: A substantial pair of chenet. Some tarnishing and general wear commensurate with use and age. Dirt and dust. 

A pair of Japanese plum bronze jardinieres late 19th century, tapering cylindrical form with bird and flowering tree deocoration in relief, on squat feet modelled as Dogs of Fo,27cm wide,27cm deep,27.5cm high (2)Condition report: Patination to interiors, couples of pin holes to bronze, wear associated with age throughout

Collection of four Iron Age knife bade fragments all in relic condition. One with a bronze handle with incised banding. (4)

A late 17th century bronze cauldron possibly from The Fathers Foundary, Montacute, Somerset with angled handles, reeded legs and two foundry marks, with integral cast marks to the body, approximately 33cm diameter x 28cm highCondition report: Old oxidisation and marks, dents and scratches due to age and use, a patch to the side visible externally and within, otherwise condition consistent with age and use

Bronze age Gold and Silver ring money approx 17mm in diameter and 13.1g

Circa 100-300 ADA sophisticated gold necklace with a loop in loop strand, rope-like in appearance, openwork beads connected with spacers, the chain shows particularly fine workmanship. Due to its fine workmanship, it is believed to be made by an atelier in Rome.As in many other ancient societies and cultures, jewellery was an important and influential social marker and used to demonstrate wealth and power, which flourish during the Imperial period (27 BC - 1453 AD). The ancient Romans considered jewellery to be an essential accessory, of which it first followed trends set by the Etruscans using gold and glass beads. Following the progression of the Roman Empire, Roman jewellery became more and more elaborately detailed in designs influenced from difficult cultural styles such as Greece, Egypt, North Africa and the Orient, a variation of materials were used, such as the use of precious and semi-precious gemstones. This necklace displays the loop in loop attachment system which produces a distinctive type of jewellery, popular in many ancient cultures which was first seen as far back as the Early Bronze Age. The ancient Romans were renown for their complex designs of which they could accomplish due to their extensive trade network of imports which provided access to exotic materials. Whilst wealthy men were known to collect fine art such as silver wares and sculptures, wearing one or several rings was typically enough. However, Roman men also wore bracelets, collars with pendants and torcs. Although most of the remaining ancient Roman jewellery resembles Greek and Etruscan designs, new forms were developed and borrowed from other cultures. A great deal of Roman jewellery was still made by Greek artisans, or important from Egypt. There was a lot of pressure in terms of fashion, to adjust to the style accepted at the time.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:205mm; 29.5g Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Circa 600 BC A finelly modelled helmet made of hammered bronze sheet, with a rectilinear opening for the face, long, pointed cheek pieces, horizontal ribbing on the forehead framing the upper facial opening, and twin parallel ridges on the crown, each flanked by a group of three later ribs in low relief, engraved band between. The back and sides flare out to guard the neck and has three perforations for attachment of leather liner. This example has a rich, blue-green patina and is a somewhat more impressive example of Type II, variant A, with a more pronounced dome-like form. The Roman historian Appian wrote that the Illyrian lived in the area south from the Macedonians and Thracians. Traditionally the Illyrians were farmers and miners, but during war time they were respected as seasoned soldiers, primarily for the infantry. For a discussion of Type II, variant A, see Angelo Bottini et. al. Antike Helme (Mainz, 1988) pp. 48-52, and ef. Figs. 7-8, p. 49. These helmets were particularly popular in northern Greece, in the province of Illyria, in the modern day Balkans. They were made for hoplites, the citizen-soldiers of the Greek city states, who often furnished their own bronze armor. As a result, regional styles developed, and there is a great deal of variation in shape and form. For similar examples to this helmet from the Metropolitan Museum of Art (1992.180.1, 2006.221, 2003.407.6) and the Louvre (CA 2221Or). See H. Pflug, 'Illyrische Helme', in A. Bottini et al. Antike Helme, Mainz, 1988, 55-9. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. For further reading see: A. M. Snodgrass, Early Greek Armour and Weapons. From the End of the Bronze Age to 600 B.C., Edinburgh, 1964. Size: L: 280mm / W: 200mm; 1.16kg Provenance: London private collection; formelry in a private New York, USA collection; formerly acquired from the German collection of Hans Hagmann in 1968/69.

Circa 202 BC-220 ADAn ornate Chinese Han dynasty pottery goose with bronze legs. The goose is standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a white-coloured head with a red beak and open, attentive eyes. The body is decorated with white and black glaze, imitating the animal's natural plumage.Geese were a major motif in Han dynasty era poetry and were typically distinguished between two types of geese, the domestic goose, and the wild goose.The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilization during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts.To find out more about the Han Dynasty and its art production, see:Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:200mm / W:185mm; 650g Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Circa 202 BC-220 AD, Western Han DynastyAn exceptionally rare pair of bronze lamps in the form of two deers, with their bodies crouching, their hooves well defined,their heads showing their ears and antellers pointing out whilst balancing a lamp pole upon their mouths. The poles lead to a conical shaped setting for attachment of lamp. For similar see: New York. The Metropolitan Museum of Art. "Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 200)," April 3, 2017–July 16, 2017. Size: Set of 2: L:288mm / W:185mm; 3kg Provenance: Private collection of a London doctor; formerly in a Somerset Estate collection; acquired from Hong Kong galleries in the early 1990s.

Circa 300 BCA pottery vessel with a globular body and tapering neck, everted rim and strap handle to the rear, the body with circumferential bands of red or brown pigment.The Daunian culture were an Italic tribe inhabiting Northern Apulia in Classical antiquity before the Greek expansion in southern Italy. Starting in the Late Bronze Age (1000 BC), a local ceramic production was developed in the region, characterized by a light-coloured purified clay and decoration with simple geometric patterns. This production continued uninterrupted until the Hellenistic age.For a comprehensive guide of Daunian pottery, see:De Juliis, E. M. (1977). La ceramica geometrica della Daunia. Firenze: G.C. Sansoni. Size: L:175mm / W:150mm; 425g Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in an old European collection.

Circa 700-600 BCA bronze figure in the form of a horse and rider with a long slender body with four voluptuous legs and head with stylised head.For other objects of similar style and age see:A.S. Walker, Animals in Ancient Art from the Leo Mildenberg Collection, Mainz, 1996. Size: L:48mm / W:40mm; 31g Provenance: Private London collection ( B.A); formerly acquired in the 1970s from John Lees collection.

Circa 800-1000 ADA simplistic thurible, a cast bronze censer suspended from three bronze chains.For similar see:Ariadne; Byzantium, The light in the age of darkness, p. 53, no. 2 & 3, for suspended censers. Size: L:410mm / W:82mm ; 280g Provenance: Private London collection; formerly in private Houston, TX. collection, ex. Gerhard Hirsch Nachfolger auction 277-278, Munich, Germany, lot 929.

Antiker Bronzeschmuck - Frauenarmreif aus Bronze, filigran gearbeitet, leicht spiralförmig, mit Ritzlinienverzierung. Museales Stück. Mit Alters- und Gebrauchsspuren, Korrosion/ grüne Patina, Fundbelag, leicht verbogen, aufbereitet. Aus alter deutscher Privatsammlung. Versand nur innerhalb der EU.| Ancient bronze jewellery - women's bronze bangle, filigree work, slightly spiral-shaped, with incised line decoration. Museum piece. With signs of age and usage, corrosion/green patina, found deposits, slightly bent, reconditioned. From an old German private collection. Shipping only within the EU.

Near pair of late 19th/early 20th century Chinese Famille Verte crackle glaze chargers, decorated with mountainous landscapes containing warriors on horseback and foot, within simulated bronze incised borders, largest D40cmCondition Report:General light wear commensurate with age, including surface scratches and some wear to enamel in places.

19th century Japanese bronze censer, the compressed body with inverted rim flanked by twin dragon handles, upon a openwork foot modelled as a waves, L29cmCondition Report:General wear commensurate with age and use, including surface scratches, nicks, and wear to the patina.

Large Japanese Meiji period bronze Ikebana vase, the cylindrical body with twin elephant mask handles decorated in high relief with with roosters and finches amongst blossoming branches, supporting a removable dished rim, the lower knop decorated with phoenixes amidst auspicious clouds, the dish decorated with panels of cranes and other auspicious birds beneath a key fret border, the whole supported upon a pierced section modelled as blossoming peonies and a circular plinth, with character mark beneath, H72.5cm rim D35.5cmCondition Report:General wear commensurate with age and use, including surface scratches, nicks, pitting, and wear to patina, etc.

Chinese Qing dynasty bronze elephant censer, of tripod form, the lobed body cast as the heads of three elephants with floral trappings, upon three legs modelled as elephant feet, H12cm rim D9.5cmCondition Report:General wear commensurate with age and use, including scratches, nicks, small knocks and wear to patina.

19th century Grand Tour bronze askos wine pitcher, of typical form with putto mounted scrolling foliate handle and two recumbent goats to the rim, H17cm W16cmCondition Report:General wear commensurate with age and use, predominantly in the form of surface scratches, nicks and wear to patina.

A bronze Art Deco design figure of a jazz age dancing girl, on stepped marble plinth, 49cm high

Stehender Buddha, wohl Burma, 18./19. Jh., Bronze, schreitende Darstellung, die Nacktheit als reine Inkarnation des Buddha, die Rechte Hand zum Himmel ausgestreckt, die linke Hand als Geste der Erdberührung, Reste von alter Fassung, Holzsockel später, H. ca. 32.5/41.5 cm, AltersspurenStanding Buddha, probably Burma, 18th/19th c. Century, bronze, striding representation, the nudity as a pure incarnation of the Buddha, the right hand stretched out to heaven, the left hand as a gesture of touching the earth, remains of an old version, wooden base later, H. approx. 32.5/41.5 cm, traces of age

Bronzeskulptur, Indien, 2. Hälfte 20. Jh., Ardhanarishvara, die weibliche Inkarnation von Shiva, in schreitender Darstellung, doppelter Lotussockel mit Durchbrucharbeit, ca. 58 cm, l. Alterssp.Bronze sculpture, India, 2nd half of the 20th century, Ardhanarishvara, the female incarnation of Shiva, shown walking, double lotus base with openwork, approx. 58 cm, l. age

Jean-Louis Gregoire, 1840 Paris-1890 ebenda, Studium a. d. Ecole des Beaux-Arts Paris, debütierte 1867 auf dem Salon, vornehmlich Genreplastiken, hier: Bronzeskulptur 'Mozart', Darstellung des jungen Genies beim feinfühligen Stimmen der Geige, dunkelbraun patiniert, auf grünem Marmorsockel, signiert L. Gregoire, gestempelt 'Exposition Universelle 1900 Medaille D'or', Alterssp., H.ca. 39 cmJean-Louis Gregoire, 1840 Paris-1890 ibid, studied at the Ecole des Beaux-Arts Paris, made his debut at the Salon in 1867, mainly genre sculptures, here: Bronze sculpture 'Mozart', depiction of the young genius sensitively tuning the violin, dark brown patina, on green marble base, signed L. Gregoire, stamped 'Exposition Universelle 1900Medaille D'or', traces of age, h. approx. 39 cm

ELEGANTES LOUIS XV-BUREAU PLAT Frankreich, um 1750, versch. Hölzer furniert auf Eichenkorpus, rechteckiger, geschweifter Korpus auf hohen Beinen, dreischübige Zarge, auf der Rückseite drei Blendschübe, feuervergoldete Bronzebeschläge, Schreibplatte mit Ledereinlage, HxBxT: 73/110/56 cm. Altersspuren, Furnier teilw. besch.| ELEGANT LOUIS XV-BUREAU PLAT France, c. 1750, various woods. Veneered woods on an oak corpus, rectangular, curved corpus on high legs, three-part frame, three drawers on the back, fire-gilt bronze fittings, writing tablet with leather inlay, HxWxD: 73/110/56 cm. Traces of age, veneer partly dam.

BILDPLASTIKER des 19./20. Jh. nach antikem Vorbild, "Junges Reh", nach antikem Original aus dem 1. Jh. in der Villa dei Papiri, Bronze, brüniert, auf rechteckigem Holzsockel montiert. HxL: Figur ca. 50x44 cm, gesamt ca. 56x44 cm. Altersspuren.| PICTURE SCULPTOR of the 19th/20th Century after antique model, "young deer", based on an antique original from the 1st century in the Villa dei Papiri, burnished bronze, mounted on a rectangular wooden base. HxL: figure approx. 50x44 cm, total approx. 56x44 cm. signs of age.

BRUNI, BRUNO (geb. 1935), "La Divina", Bronze, brüniert, am Fuß im Guss signiert, Gießersigné und num. 984/1000, auf dunklem Marmorsockel montiert, mit Podest, H: Figur ca. 103 cm, gesamt ca. 107,5 cm, Podest ca. 100 cm. Leichte Altersspuren.| BRUNI, BRUNO (born 1935), "La Divina", bronze, burnished, signed in the cast, foundry signé and num. 984/1000, mounted on a dark marble base, with pedestal, H: figure approx. 103 cm, total approx. 107.5 cm, pedestal approx. 100 cm. Slight signs of age.

RAINGO FRÈRES PRUNKPENDULE IM ROKOKO STIL, Paris / Frankreich, 19. Jh., Bronze feuervergoldet, üppiger Dekor aus teilw. angesetzten Zierelementen mit Blattvoluten und floralen Elementen, Ziffernblatt mit emaillierten Segmenten, Werk mit Herstellerbezeichnung. HxBxT: 56/37/22 cm. Alters- und Gebrauchsspuren, erg., Federaufhängung des Pendels gebrochen, Pendel fehlend.RAINGO FRÈRES CELEBRATING PENDULUM IN THE ROCOCO STYLE, Paris / France, 19th century, fire-gilt bronze, lavish decor consisting of partially applied decorative elements with leaf volutes and floral elements, dial with enamelled segments, movement with manufacturer's designation. HxWxD: 56/37/22 cm. Signs of age and wear, erg., spring suspension of the pendulum broken, pendulum missing.

PAAR KLASSIZISTISCHE PRUNKLEUCHTER, um 1800, Bronze feuervergoldet, Schaft jeweils in Form einer vielgegliederten Säule unter einem balancierenden Amor. H: 59 cm. Alters- und Gebrauchsspuren, Verschraubungen gelockert.| PAIR OF CLASSICAL CHANDELIERS, around 1800, fire-gilt bronze, each shaft in the form of a multi-jointed column under a balancing Cupid. H: 59cm. Signs of age and wear, loosened screws.